All’s well, beginning to end
Bard show delights
by Christopher Key
Shakespeare’s insight into the human character is part of what made him immortal. To say that these insights can make his audience uncomfortable is an understatement of British proportions. In All’s Well That Ends Well, he is particularly unsparing of the male of the species. Vancouver’s Bard on the Beach places this production on its second stage and I keep finding those performances to be the highlight of the season. It happened with Timon of Athens, it happened with The Tempest, and it happens again with All’s Well.
Perhaps it is because I am enamored of the more intimate proportions of the smaller venue and it’s certainly because I am enamored of theatre in the round. It may also be due to the fact that the lesser-known works are relegated to the second stage and I am always delighted to see those works performed the way only Bard can perform them.
Whether it was intentional or not, All’s Well director Rachel Ditor has highlighted the shortcomings of the male species that Shakespeare saw with a clarity that belies his membership in that clan. Our shining armor is forever tarnished.
Craig Erickson and Lois Anderson star in All's Well That Ends Well at Bard on the Beach in Vancouver. Bc's Vanier Park.
Those of you who were privileged to witness Lois Anderson’s show-stealing performance in Romeo and Juliet two seasons ago will be unsurprised by her powerful portrayal of Helena. The women are the only honorable characters in All’s Well. Anderson leads the way, ably abetted by Patti Allen as the Countess of Roussillon, Jan Wood as the Widow Capilet, and Celine Stubel as Diana.
The men are all admirably sleazy. Craig Erickson sets the standard as Bertram, whose innocent visage is reminiscent of an altar boy who has been sneaking sips of communion wine in the sacristy. Bard veteran Scott Bellis delivers a delightfully demented performance as Bertram’s sidekick, Parolles.
Director Ditor made an ingenious choice by transforming Lavatch, the clown, into a lascivious psychiatrist played to perfection by David Marr. His use of Rorschach images and the suggestive Meerschaum pipe are delicious.
If you had a chance to see the versatile Allan Morgan as Julius Caesar, you will take great delight in his foppish role as Lefew, a retainer to just about everyone who will put up with his verbosity. Duncan Fraser is convincingly regal as the King of France, whether he is dying or not.
All’s Well That End Well plays on the second stage at Bard on the Beach in Vancouver, BC’s Vanier Park through September 19. Tickets range from $18 to $34 and reservations are mandatory. Call (604) 739-0559 or reserve online at www.bardonthebeach.com.
Gentlemen, check your self-esteem at the door.
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