Helen is a bright, attractive young woman, but, sad to say, she’s not royal. So Bertram/Count of Rossillion, the man she loves for reasons not clear, scorns her. The daughter of a famous doctor, Helen is able to cure the ailing King of France and as a reward, gets to choose a husband. But instead of marrying Helen, Bertram goes off to war. Conspiracy ensues by three women and Shakespeare’s All’s Well That Ends Well manages to have a happy ending, thus ensuring its place as a “comedy” as well as one of the Bard’s “problem plays.” Part of the “problem” is that the plot is actually a lot more complicated than my brief summation.
All’s Well is now on stage at Chicago Shakespeare Theater in a lively and energetic staging by Shana Cooper, a director known for her use of movement to express ideas and emotions.
The primary couple—Alejandra Escalante as Helen and Dante Jemmott as Bertram—are perfectly capable in their roles. His mother, the Countess of Rossillion, played by the great Ora Jones, is a delight—witty, wise and occasionally twinkly-eyed as she plays one of Shakespeare’s charming older woman roles. Her scenes with Lavatch, her clown, played by the equally delightful Elizabeth Ledo, are some of the brightest scenes in the play. Helen is the Countess’ ward since the death of her father, the doctor. Does that complicate her possible relationship with Bertram, son of her Countess guardian?