A mesmerising production which is bold without trying
There is not much worse than unrequited love or trying to live against your true sexuality. A production, then, which places both dilemmas centre-stage could easily be rather bleak. Chelsea Walker’s All’s Well That Ends Well, however, is thoroughly fresh-eyed and entertaining, writes Mary Bradshaw.
This quick-tongued, stripped-back production encourages its audience to delight in the deliciousness of Shakespeare’s script. It seems that retailers have singled out the play for aphorisms that look good on T-shirts, but the cast deliver even the most over-quoted lines with such dynamism that they never sound trite. And despite their unending sleek, nimble, precise performance, the cast never take themselves too seriously.
It’s this light-hearted, good-natured energy which sees the production through and emerges as its main selling point. Awkward expressions and side-eyed glances abound, and from nauseating insincere serenades, to when Ruby Bentall – clad as a weary pilgrim – exaggeratedly applies lipstick and poses for the audience, humour is the main character.
Watching this wintertime production in the Sam Wanamaker Playhouse is a tremendously soothing experience. And it’s not just down to all that beeswax-candlelight. The performance looks kindly on the ridiculousness of human emotion. Threats are mostly empty, and declarations of male strength are often met with witty comebacks (‘if you were born under Mars, it must have been in retrograde’ is one that would look even better on a t-shirt). A stubborn, bare-legged, sickly king who declares that the royal We ‘must not prostitute our great malady to empirics’, flails about and often ends up in the foetal position.
Even the gloomiest declaration of unrequited love (‘There is no living, none, if Bertram be away’) is tempered with comedy as Helena systematically downs the drinks she was meant to serve. She’s ‘Helen’ here, played wonderfully by Ruby Bentall.
The production subtly underlines themes of contemporary interest such as consent and fluid sexuality. To Bertram’s (Kit Young) sickening attempts at seduction and unconvincing arguments about women’s purity, Diana concludes: ‘So you serve us ’til we serve you’. And the bisexual reading of Bertram is explored without making a fuss of itself.
This is a mesmerising production which is, thankfully, bold without trying. A feat which is all the more impressive at a time when many old scripts are re-examined in light of contemporary values and ‘boldness’ can sadly feel cliché or overdone.
The result of Walker’s direction and an extremely well-chosen cast is entertaining and engaging. It even seems enough to convert the most hesitant of Globe-goers to Shakespeare.
Sam Wanamaker Playhouse until 4th January 2025
Booking: https://www.shakespearesglobe.com/whats-on/alls-well-that-ends-well/
