
Miriam Silverman as Helena and Tony Roach as Bertram in the Shakespeare Theatre Company’s production of All’s Well That Ends Well, directed by Michael Kahn. Photo by Scott Suchman.
With only a few minor exceptions, The Shakespeare Theater Company’s production of All’s Well That Ends Well hits every note and does so with beauty and style. The question is, is that going to be enough to make it work for a modern audience?
If you’re not familiar with the work – which, to borrow a joke from the hosts at Filmspotting, is “Minor Shakespeare” – All’s Well tells the story of a woman of common birth who loves a nobleman. Through plucky resolve she gets the King to grant her a boon – her choice of husbands. When she picks the object of her affection he rejects her, fleeing France to fight in a foreign war and vowing not to return so long as he has a wife to return to. There’s a very Shakespearean bit of shenanigans along the way and in the end he sees the error of his ways and he accepts her.
So we’ve got a stalker, forced nuptials, class divisions, a sleazy hymen-chaser, a sort of rape by substitution, and, as such things usually lead to, eventual love and happy marriage. How’s that working for you?


















