All's Well That Ends Well , and: The Taming of the Shrew (review)

Abstract

Reviewed by: All's Well That Ends Well, and: The Taming of the Shrew Barbara Ann Lukacs All's Well That Ends Well Presented by the Shakespeare Theatre of New Jersey at the F.M. Kirby Theatre at Drew University in Madison, New Jersey. September 15–October 10, 2010. Directed by Stephen Fried. Set by Bill Clarke. Costumes by Emily Pepper. Lighting by Tony Galaska. Sound by Karin Graybash. Stage management by Denise Cardarelli. With Ellen Adair (Helena), Clifton Duncan (Bertram), Clark Carmichael (Parolles), Tamara Tunie (Countess of Rossillion, Counselor to the King, Widow Capilet), John Ahlin (King of France, Lavatch, Peasant, Florentine Soldier), Robin Chadwick (Lafew, Peasant, Florentine Soldier), Izzie Steele (Rinalda, Nurse to the King, Courtier, Diana), and others The Taming of the Shrew Presented by the Shakespeare Theatre of New Jersey at the F.M. Kirby Theatre at Drew University in Madison, New Jersey. June 2–June 27, 2010. Directed by Bonnie J. Monte. Costumes by Erin Murphy. Lighting by Michael Giannitti. Sound by Karin Graybash. Stage management by Josiane M. Lemieux. With Victoria Mack (Katherina), Steve Wilson (Petruchio), James Michael Reilly (Grumio), Jack Moran (Lucentio), Jon Barker (Tranio), Joe Costa (Baptista Minola), John Seidman (Gremio), Scott Whitehurst (Hortensio), Katie Fabel (Bianca), Joel Rainwater (Biondello, Curtis), Jake Berger (Walter, Pedant, Tailor), Amanda Bailey (Sugarsop, Haberdasher, Widow), Stewart Schneck (Nathaniel, Vincentio), Matt Ogonowski (Nicholas, Servant), Katie Van Rensalier (Ralph, Servant). Director Stephen Fried's production of All's Well That Ends Well was a creative and innovative interpretation of one of Shakespeare's so-called "problem" plays. Fried chose, both for cost effectiveness and, more importantly, artistic interest and vision, to use a cast of only nine actors, thereby necessitating the doubling and tripling of roles. The exceptions were the roles of Helena, Bertram, and Parolles. Through this choice, Fried defined this production as their play. They were the centers, the axes about which the rest of the world of the play rotated, and it was the orthogonal character of their intents that resulted in the dramatic tension and action that filled the stage. Though this play is classified as a comedy, it is far darker than many of Shakespeare's other comedies and this production emphasized these aspects. The stage was lit in muted tones. There was no sunshine, only the dark of night, dim sunrises, and even dimmer sunsets. The stage properties were minimal. An ornate, dark chest and two ladder-back chairs denoted the home of the late Count Rossillion, whose influence was still felt as he looked out from a framed photograph. A feeling of intimacy [End Page 77] was conveyed by the proximity of the furniture and the actors to the audience. On a grander scale, the King's palace was created by the hoisting of an elaborate crystal chandelier that was hidden behind a black cloth and screen at the rear of the stage. Through a series of lighting effects, a rear wall of panes of glass was projected onto a black scrim and suggested the Hall of Mirrors at Versailles. The Florentine camp was evoked through the placement of a few wooden crates. These Spartan set choices made sense both in terms of budget and quick scene changes. The costuming reflected the late nineteenth and early twentieth centuries. The soldiers' uniforms were of WWI vintage with high woolen oversocks, black boots, riding britches, and short-cropped jackets. The men at court wore white tie and tails. The gowns worn by the Countess and Helena were Victorian, with high starched collars and stiff, heavy fabrics in muted tones. This production was, at heart, a war story and the costuming and staging choices, particularly Helena's outfit, highlighted this directorial decision. Helena, dressed in a gray, ankle-length overcoat, white shirt, brown vest, long skirt, and tall boots resembled Florence Nightingale, come to do battle with and to defeat the King's infirmities. She never lost her simple, homespun outward appearance, even after she cured the King. Despite her noble deeds and bearing, she remained throughout a country girl of lower birth. Helena's costume highlighted her classical beauty, her poise, and her dignity. She was reminiscent of a battlefield nurse and resistance...