Alls well at Alchemy

All’s Well is one of Shakespeare’s “problem plays,” and as such, is seldom produced or studied in undergrad curricula. Alchemy Theatre made a bold move in choosing to produce it, which as it turns out, has paid off. Although long—three full hours—the production was engaging and energetic, not an easy feat for such a long show.

The central story focuses on the unrequited love that commoner Helen (Jennifer McNaughton) has for Bertram (Michael Rode), who has just inherited his father’s title as Count of Rossillion. Though she is a close confidant of Bertram’s mother, the Countess (Kat Lanteign), Bertram does not share her affection for the young woman.

When Bertram goes to the court of France, Helen follows him and cures the ailing King (Simon Michellepis) of his melancholy. As a reward, he delivers her in marriage to the lessthan- thrilled Bertram. From here, pandemonium ensues.

Bertram, under the influence of a knavish fellow named Parolles (Robert Rainville), decides to defect to the camp of the Duke of Florence (Denny Roy), who is at war with France. Helen follows him only to find that her beloved has been wooing a local Florentine woman, Diana (Amber Mills). Not to worry because the clever trick she pulls ensures that the King and Bertram are reunited, and that she ends up pregnant with his child!

Such a straightforward plot from the Bard is part of why the play is considered a “problem” in the canon. Still it provided ample opportunity for excellent performances.

Rode and McNaughton displayed an excellent lack of chemistry between the two. Rainville proved a goodly knave, particularly during the torture scene. Michellepis and Lanteign stole the show for the Shakespearean purists—one fully expected that they would break out in verse if one met them on the street. Lanteign, who trained at the Bristol Old Vic in the U.K., played up the proto-feminist themes that run throughout the show. A full cast of talented lords, ladies, and soldiers each complimented the ensemble performance.

As usual, Alchemy made excellent use of an unusual performance space, though the blocking was occasionally clumsy, keeping the performers onstage at all times proved an excellent idea from director Hume Baugh. The dance scenes could have been cut entirely without losing any sense of the mood of the show.

A word of caution: if you are not a Shakespeare purist, you will find this show TOO long, and TOO pure. Baugh did not cut so much as a single scene from the performance, the staging was classically influenced, and the costumes were period. Indeed, some inventiveness to accommodate the unusual performance space would have been interesting, but everything worked fine as it is. However, for those of us who enjoy seeing the bard unfiltered and uncut, this is an excellent show to see from Toronto’s urban Shakespeare company, and truly did end well.

All’s Well That Ends Well runs at Alchemy Theatre, 133 Tecumseth Street, until April 13. Discounted tickets for the underemployed (like you!)