All’s Well in UMD's Shakespearian Romp
Sheryl Jensen
Duluth News Tribune
February 4, 2016
Most often in the Shakespearian canon, it is abundantly clear which plays are comedies and which are tragedies. For a few of the plays, however, the lines seem less clearly drawn. All’s Well That Ends Well falls into what are called the “problem” plays with a foot in each realm.
In the University of Minnesota Duluth’s production, director Kate Ufema has mostly solved the “problem,” landing her production decidedly more in the comedy camp. While there are still darker elements, characterizations and plot devices, particularly in the last half of the show, over
all it showcased the comedic talents of the actors to the delight of the opening night audience.
Although the cast is predominantly underclassmen, with just a few of the more seasoned veterans in the theater program, each actor is at ease with the language; they “iambed” and “pentametered” their way through the proceedings with aplomb.
Any production of All’s Well ultimately rises and falls on the actress playing Helena. In this fairy tale-like story, Helena cures the ailing King of France and receives her pick of any husband in the kingdom in return. Her choice, alas, is her long unrequited love, the young and handsome Bertram, who weds and then spurns her. The main plot line follows Helena as she uses her wit and ingenuity to win his love.
Erin Hartford brings an endearing earnestness and sweetness to Helena, a role that is a balancing act where the audience needs to see her not as a doormat, but rather as an intelligent woman who knows what she wants and how to go about getting it. Hartford finds that balance and charms both the audience and eventually the recalcitrant Bertram.
Two supporting standouts are Brian Saice as Lavache, the clown, and Ryan Fargo as Parolles. Saice is establishing his wheelhouse in broad comedy, playing one of Shakespeare’s patented wise fools. From his first entrance in his wildly colored motley vest and hat, he evokes a long-lost Marx Brother, playing the fool’s physical and textual comedy to perfection.
Ryan Fargo sinks his considerable acting chops into the role of the arrogant blowhard, Parolles, who is all talk, pomp and bluster early on but gets his well-deserved comeuppance by evening’s end. Fargo also finds the fine nuances of the text and the appropriate physicality to bring the role to ostentatious life.
In a fun bit of casting, Lendley Black steps out of his UMD’s chancellor’s office to return to his theatrical roots. He holds his own with the talented students surrounding him, bringing a regal air and gravitas to the story.
The show is visually stunning, with Curt Phillips’ elegant towering arched wall and parapet, marvelously lit by James Eischen. Laura Piotrowski’s costumes are, as always, gorgeous, with the men this time getting the more colorful palette, dashing in military outfits in bold shades of red, white and blue, and the requisite plumes, sashes and tassels.
Ultimately, the enjoyment of a Shakespearian play comes down to making it accessible for modern audiences. This production does so delightfully from the opening pantomime to the epilogue, reminding us of how many ways Shakespeare can continue to be both relevant and entertaining.
