FOR THOSE OF YOU IN A RUSH HERE’S THE CONDENSED VERSION! But do scroll to the end of the longer version to see how YOU can get involved…
Fairytales and Shakespeare collide to dazzling affect in the National Theatre’s production of ‘All’s Well That Ends Well’
A truly beautiful production, the direction, costume and staging of the play serve to bring out the subtleties of the script itself. The play seems to be a traditional love story, yet scratch the surface and the statement that ‘All’s Well That Ends Well’ seems almost forced.
We follow a young and beautiful orphan, Helena, whose father was a great doctor; she has been adopted into an eminent family and raised by the Countess Rossillion whose husband has died. The Countess has one son, the handsome and conceited Count Bertram. It seems inevitable that our heroine should fall in love with the unworthy Count. But will he ever be able to see beyond his pride to value her merits? Helena herself compares Bertram to a sparkling star,
‘Twere all one
That I should love a bright particular star
And think to wed it, he is so above me:’
A magical image of gold and glitter that is echoed in the staging and costume of the play. But is Bertram’s shine a sign of true beauty?
The Director mixes film, theatre and costume in such an original way, that I’ve rarely seen in Shakespeare on the stage, in fact the visual feast reminded me of Baz Lurhman’s Romeo and Juliet. There is something over the top in both, that still manages to create a delicate beauty. For example, Marianne Elliott, the Director employs the use of slow motion as the actors move in silent jubilation, their golden clothes glittering under the lights. Then at the closing scene of the play the characters pose for the camera, yet the bright light of the flash seems to bring the artificial nature of the play into sharp relief serving to isolate the characters from one another, beneath the ‘happily ever after’, perhaps all is not as it seems.
‘All’s Well That Ends Well’, at the National Theatre until 30th September 2009
IF YOU HAVE A BIT MORE TIME SETTLE IN AND ENJOY…
Fairytales and Shakespeare collide to dazzling affect in the National Theatre’s production of ‘All’s Well That Ends Well’
A truly beautiful production, the direction, costume and staging of the play serve to bring out the subtleties of the script itself. The play seems to be a traditional love story, yet scratch the surface and the statement that ‘All’s Well That Ends Well’ seems almost forced.
We follow a young and beautiful orphan, Helena, whose father was a great doctor; she has been adopted into an eminent family and raised by the Countess Rossillion whose husband has died. The Countess has one son, the handsome and conceited Count Bertram. It seems inevitable that our heroine should fall in love with the unworthy Count. But will he ever be able to see beyond his pride to value her merits? Helena herself compares Bertram to a sparkling star,
‘Twere all one
That I should love a bright particular star
And think to wed it, he is so above me:’
A magical image of gold and glitter that is echoed in the staging and costume of the play. But is Bertram’s shine a sign of true beauty?
Count Bertram leaves for court and Helena is left desolate, then news reaches them that the King is ill and nothing seems to cure him. The resourceful Helena, acted with wit and strength by Michelle Terry, recalls one of her father’s famous cures and hits upon a plan to save the King and get him to grant her, her heart’s desire in return. She hurries off into the night her red velvet cloak and hood streaming behind her… Like Little Red Riding Hood out to face down the wolf.
Thus begins the strong theme of fairytale, which seems to be used to show the contrast between the glossy, seemingly light surface and the troubles that bubble underneath. The stage and costume represent this idea; the set appears to be both a mythical castle and a dark tree, with an ever changing backdrop. The background is in fact animated, something I have never seen before, and which adds to the filmic, surreal quality of the play, just outside of the castle owls flutter and wolves prowl. The main doors continue the fairytale theme, they seem almost part of the tree like castle, they are made of heavy silver inlaid with golden leaves.
There seems to be references to other fairytales, after Red runs into the night, Helena is transformed into Cinderella; as at her wedding she is given a stunning glittering gown and shoes, beneath the lights these sparkle, yet almost seem to mock her when the Count will barely consent to hold her hand. Importantly the fairytale is in some ways turned on its head as it the ‘princess’ which pursues and captures the ‘prince’.
The show also uses lighting to great effect, when Helena saves the King the backdrop is lit up creating distinct silhouettes; they stand in happy poses holding hands, looking exactly like an illustration from a story book. Later after her marriage to Bertram the same artificial poses are employed as petals fall. Yet the Count will immediately seek to escape from Helena by running away to war, he leaves her with this charge, if she can get his ring and herself pregnant with his child then he will honour their marriage, a seemingly impossible challenge.
Interestingly in the second half the outfits change from a strict Victorian style, which seems to emphasise Helena’s virginity, to the fashion of rock n roll and the rebellious 50s. This reflects the sexier content of the second half, I also think the changing costumes serve to emphasise the changing and contrasting images of women, from the idealised virgins and princess to whores.
The Director mixes film, theatre and costume in such an original way, that I’ve rarely seen in Shakespeare on the stage, in fact the visual feast reminded me of Baz Lurhman’s Romeo and Juliet. There is something over the top in both, that still manages to create a delicate beauty. For example, Marianne Elliott, the Director employs the use of slow motion as the actors move in silent jubilation, their golden clothes glittering under the lights. Then at the closing scene of the play the characters pose for the camera, yet the bright light of the flash seems to bring the artificial nature of the play into sharp relief serving to isolate the characters from one another, beneath the ‘happily ever after’, perhaps all is not as it seems.
‘All’s Well That Ends Well’, at the National Theatre until 30th September 2009
GET INVOLVED
Now here’s your chance to see Shakespeare’s First folio for yourself, the British Library have a copy on exhibition. Which is the first edition of Shakespeare’s plays published in 1623 only seven years after his death.
To find out more click here:
Or if you’d like to get more hands on – why not visit the Royal Shakespeare Company Open Day on 19th July 2009. There are loads of fantastic activities to choose from, including a behind the scenes tour! You can also learn about the many different careers in the theatre at no charge. There’s a chance to strut your stuff for FREE with stage fighting and a dressing up box! And once you’ve finished perfecting your sword skills you can make it look you’ve been in a real battle, with help from the makeup experts you’ll soon have a black eye and split lip to be proud of!
To find out more click here:
