No Fairy Tale Romance

All’s Well That Ends Well – Chicago Shakespeare Theatre

Helen, for some inexplicable reason, is in love with Bertram. For over two hours he calls her names, spurns her affection and even goes so far as to tell Helen she’s inferior and far below him. Then Bertram runs off to France where he’ll be under the tutelage of the French King and become an officer in their army. Helen’s determined to have her fairy tale happily-ever-after ending, so she confesses her love to Bertram’s mother, the Countess of Rossillion, and begs her to give Helen her blessing and send her off to France, as well. 

Before he died, Helen’s father was a world famous physician who could, almost magically, cure anyone of any disease. So, having acquired her late father’s skill and knowledge, Helen is determined to save the life of the ailing King of France, who’s on his deathbed. If she’s successful, the King promises to award her with the husband of her choice. Of course, Helen wants Bertram, no matter how much the young man is against such a union. 

So what does Bertram do? After his forced wedding to Helen, Bertram flees from France, with his friends in tow, for the freedom of Italy. There he proceeds to romance Diana, the Widow Capilet’s pretty daughter. But when Helen secretly follows Bertram to Italy, and is befriended by Diana and her mother, together they hatch a clever plan that will teach the young man a lesson about love, while bringing about Helen’s dreamed happy ending.

Director Shana Cooper understands that movement and dance have the ability to help an actor express Shakespeare’s poetic and emotional ideas. So, working together with Stephanie Martinez, the production’s Choreographer and Movement Designer, the two have amplified this production with plenty of delightful, contemporary music and dance. Paul James Prendergast provides the Music and Sound Design, adding melodic color to this comedy. Dendy helps with the production’s Magic Design and Gregory Linington helps his actors sound conversational, as the show’s Verse Coach.

Shana Cooper has a great cast with whom to work. No stranger to Chicago Theatre, but making her CST debut, the stunningly beautiful, incredibly talented and comic Alejandra Escalante holds this production in the palm of her hand as Helen. Always likable and moving with grace and determination, this incredible actress is perfect for this role, playing every nuance and note of emotion, commanding our attention in every scene.

Handsome Dante Jemmott has a more difficult job, playing an antihero. As Bertram, Mr. Jemmott, a veteran of the Stratford Festival, must work hard trying to find the few moments in the script that make his character somewhat likable and a worthy match for sweet Helen.  He has an uphill climb, although he’s assisted by the wonderful Mark Bedard as his bizarre friend Parolles, another scoundrel, but whose broadly comic performance makes his despicable character far more likable.

Bertram’s widowed mother, the Countess of Rossillion, is beautifully played by the always incredible Ora Jones. She brings humor and dignity to a role that Bernard Shaw considered “the most beautiful old woman’s part ever written.” With over forty productions under his belt at Steppenwolf Theatre, the talented Francis Guinan is bold and commanding as the King of France. William Dick, a familiar face at CST, is marvelous and often extremely funny as old lord, Lefeu. His sparring with the flamboyant Parolles is endless fun. 

Lovely Emma Ladji, the marvelous Christiana Clark and beautiful Tanya Thai McBride are all delightful as the flirtatious Italian ladies, Diana, the Widow Capilet and their friend Mariana. Together they dance onto the stage and instantly capture our hearts. And, in an inspired bit of unusual, against-gender casting, the always superb Elizabeth Ledo is Lavatch, a clown in the French household of Rossillion. Although she sometimes plays the fool, Ledo’s Lavatch is witty and wise beyond words.

Andrew Boyce’s Scenic Design is sparse, but often startling. Using lots of draperies and curtains, his open set allows the large cast plenty of space to march, move and make merry. Often only adorned with a chair, a candle-bedecked deathbed, or a bare tree, at one point Boyce lowers an enormous “cloud” of grasses from the sky, signifying a rural, outdoor locale. The world of this story is lit beautifully by Adam Honore, as well. Raquel Barreto’s costumes, while contemporary, are still a bit whimsical and colorful. They’re enhanced by Richard Jarvie’s finely styled hair and Makeup Designs.

For most audiences, this fine, often delightful production will be the first time they’ve enjoyed this dark comedy. It’s not produced as often as some of Shakespeare’s other works because it’s considered one of his “problem plays.” The script provides several ethical dilemmas which can be a little challenging to most directors. But Shana Cooper, infusing her production with excellent actors and painting it with lightness and movement, music and choreography, seems to have found the perfect solution. The result is a rewarding evening of magical comedy and drama for adult audiences.     

Recommended

Reviewed by Colin Douglas

Presented April 22-May 29 by Chicago Shakespeare Theater, in the Courtyard Theater, on Navy Pier.

Tickets are available in person at the theater box office, by calling 312-595-5600, or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.