All’s Well That Ends Well adaptation a delightfully dark comedic romp with a twist

Christopher Mott, Chanakya Mukherjee & Liz Der. Photo by Stevie Baker.

 

Dauntless City Theatre is back at Berczy Park (aka the dog fountain park across from the St. Lawrence Centre) with a delightful immersive, site-specific adaptation of Shakespeare’s All’s Well That Ends Well. Adapted and directed by Scott Emerson Moyle, assisted by Jordi O’Dael, this version of the play is queer, twisty, darkly funny—and calls out bad behaviour—in an intimate, energetic romp of sauce and wit that’s part cautionary tale, part dark comedy.

Helena (a feisty, resilient turn from Liz Der) has recently lost her father, a skilled and respected doctor, and is now the ward of the recently widowed Countess Rousillon (Andrea Lyons is a treat in this edgy, hilarious performance), whose son Bertram (played with sneering pride and entitlement by Chanakya Mukherjee) is now the new Count. Helena is hopelessly and secretly in love with Bertram, but dares not hope for a match, as she is not noble-born. She is, however, very skilled in the healing arts; and when news arrives that the King of France (played with imperiousness tempered by warmth by Christopher Mott) has been very ill with no cure in sight, she sees a way to prove her worth to Bertram, who has travelled to the French court with his BFF Parolles (a cheeky, lovable scoundrel, played with gusto by Annelise Hawrylak).

Despite his skepticism after many failed treatments administered by many learned men, the King agrees to Helena’s treatment—and rewards her success by offering her the choice of any man in court for her husband. Taking this opportunity, she chooses Bertram; and when he rudely refuses her proposal, the King forces him into marriage. With war brewing in Florence, Parolles sees a way out and suggests that she and Bertram leave France and join the army. They do so, with Bertram leaving word with Helena that he will be her husband only if she successfully completes the impossible task of getting a ring from him and getting pregnant with his child. Helena pursues Bertram to France and, with the help of the independent and savvy innkeeper Diana (Melanie Leon), who Bertram has been doggedly pursuing to bed, hatches a plan to make the impossible possible.

Rounding out the company are Eric Benson as the priggish, arrogant M. LaFeu, an elder courtier at the Countess’s home; Tallan Alexander as Lavatch, the Countess’s saucy valet; and Holly Wyder as the spritely, guitar playing Dumaine the Younger and Anthony Botelho as the cheeky, trumpeter Dumaine the Elder, sibling messengers and our guides around the park.

And just as Helena and Diana put one over on Bertram, Parolles’ fellow soldiers (Lyons, Mott, Alexander and Benson) pull some trickery on him, revealing his true character. Prideful and careless of others, both Bertram and Parolles fall hard, and must surrender to their respective fates in the end. And an unexpected match is made in the process.

Part cautionary tale, part dark comedy, the energetic and entertaining ensemble keeps us on our toes—literally and figuratively—with twisting plot turns, and hilarious battles of words and wits; with some characters thinking and acting with their hearts and others working from somewhere decidedly south of there. Sharp-witted skills at verbal thrust and parry is in great evidence between Hawrylak’s Parolles and Benson’s M. LaFeu, as well as Hawrylak and Der’s Helena, and Lyons’ Countess and Alexander’s Lavatch. And Der’s performance is a great combination of love-struck and determination in Helena’s one-sided attentions to Bertram, and keen debate and care with the King—all while trying to prove herself worthy of Bertram’s love, which he clearly doesn’t want or deserve.

The adaptation lives up to the title, connecting us with the story in an intimate and contemporary way in an immersive, site-specific production that incorporates gender-bending casting, queer twists and calling out bad behaviour. The underlying misogyny and classism get big time push-back with powerful, capable and intelligent female and queer characters who ain’t taking no guff. (And with a female Parolles, we’re also reminded that even women can be dicks.) Beware of the proud and scornful, and the braggart cowards—and the proud and scornful mustn’t underestimate the smart and resourceful, no matter what their station. And don’t waste your talent and affection on someone who doesn’t care for or deserve you.

All’s Well That Ends Well continues in Berczy Park until August 25, with Friday and Saturday evening performances at 7:30 pm (except for Fri, Aug 9); and Saturday and Sunday matinees at 1:00 p.m. Admission is pay what you can (PWYC), suggested $20 per person; look for the Dauntless City Theatre banner, east of the fountain.

 

Department of Corrections: The original post had matinee performances listed at 1:30 p.m.; they’re actually at 1:00 p.m. This has been corrected.