Hannah Ockenden as Helen, with Kai Tawil-Morsink (L) as Paroles and Ciaran Volke (R) as Bertram. Photo credit: Lara Eichorn

I saw the second last show of this very successful production, well-directed by Jemma Alix Levy and featuring some strong performances throughout. I admired the simplicity of the show, with no set to speak of, just a couple of chairs, and a brisk 100 minute, one-act length. All’s Well is one of Shakespeare’s so-called ‘problem plays’ as it features a pretty nasty leading man in the character of Bertram. He is a selfish and self-centred young man, and resists when told he is to marry Helen, the daughter of a doctor, not a noblewoman, as he is. So he makes a deal with her…if she can prove that he has slept with her, and impregnated her, he will accept their marriage. Talk about a deal with the devil! That Helen accomplishes this task is a given, even though it involves tricking her husband into thinking he is sleeping with a young maiden in Florence, Diana (Michelle Naidu). These nasty sexual politics leave a bad taste in the mouth for 21st century audiences, but it’s to the credit of the production that these matters resolve in away that we can stomach. Hannah Ockenden plays Helen with intelligence and determination. We feel her love for the rascal Bertram, undeserved though it may be. And we also feel her determination to win him over. She is well-supported by the ensemble; in particular, I enjoyed Renee Bucciarelli’s turn as the Countess, Bertam’s long-suffering mother, Cam Culham playing a sympathetic Lafeu, and Jason Stevens as the King. Another standout was Aidan Guerreiro as Lavatch, showing good comic timing in the role of the Fool. This was Artistic Director Karen Lee Pickett’s final production. She leaves the company knowing that this final show was an exceptional one. I admire a Shakespeare play in which every actor speaks with clarity and intent, not easy to do in an outdoor setting, but evident in this excellent show.

Left, David Sklar and Ben Francis in The Guardsman (Credit: Jam Hamidi, Times-colonist)

Last Thursday night I saw the opening night of Ferenc Molnar’s 1910 play The Guardsman. I had not heard of the Hungarian playwright Ferenc Molnár, so found the play to be both entertaining and educational. Well-directed by Kevin McKendrick, the play centres on two celebrated actors, who have been married for only six months. The husband (well played by David Sklar) suspects the wife of infidelity, so decides to disguise himself as a royal guardsman, hoping to lure her into an affair. They meet at their home, then he visits her at the opera where they share a passionate kiss. He later confronts his wife to find her surprisingly nonplussed by the trickery. Instead, she claims that she knew all along he was in disguise. The truth of the matter? That’s up to the audience to decide. The play is witty and the performances strong throughout. The wife is played by Cherise Clarke, who imbues her role with the right amount of sexuality and keeps you guessing as to her true intent. Theatre critic friend Dr. Mazai (Ben Francis) serves to try to dissuade the Actor from his foolish path, only to get directly involved in the shenanigans. Jenn Griffin plays the Actress’s Mama (but not really her mother) and finds good comic moments throughout. The cast is rounded out with two smaller roles; recent UVIC theatre grad Sophie Redford plays the Maid with good comic instincts, and Andrea Lemus plays the Debt Collector, a role that would traditionally be played by a male. Overall, this was a pleasing production that provided plenty of chuckles and introduced me to a playwright whose work included the play Liliom that became the inspiration for the Rodgers and Hammerstein musical Carousel. Recommended. Runs until July 16th. Tickets are available at

NOTE: I admit that I have fallen way behind with my reviews, sorry about that! Some good shows I’ve seen but did not post on include Sense and Sensibility at the Arts Club, shows at Theatre Inconnu, the Belfry and elsewhere. I’ll try to get back on track!