Most scholars agree that Shakespeare based the central plotline of his problematical play All’s Well that Ends Well on a story about Giletta of Narbonne from Giovanni Boccaccio’s Decameron (translated into English a couple of centuries later by William Painter and called The Palace of Pleasures).

I see merit in the theory that Shakespeare first worked it up as Love’s Labours Won, put it aside then, early in the 17th century, developed it further – adding the Parolles-led subplot and renaming it All’s Well that Ends Well – to keep his public at the Globe on Bankside happy while treating the wealthier merchant class at Blackfriars to the likes of King Lear. 

The folk tale elements have never sat comfortably within what became a ‘social problem play’ about how the unrequited love Helena, a deceased physician’s daughter, has for Bertram, her Countess guardian’s son, who prefers to align himself to the parasitical evil genius Parolles (an Iago-in-the-making) and romp off to war because that’s what boys do.

What Sarah Delahunty has done, as adapter and director of 1st gear Productions’ contribution to the Compleate Workes project, is trimmed it back to Shakespeare’s version of the Boccaccio plot, given it a jazzy 1920s look, integrated increasingly sardonic songs about the nature of love, pitched it as a soap opera and added a question mark to the title. It works a treat.

Everything hinges on Bertram’s challenge to Helena: "When thou canst get the ring upon my finger, which never shall come off, and show me a child begotten of thy body that I am father to, then call me husband."

Neenah Dekkers-Reihana belts out the songs – accompanied by Joseph Hoskin’s guitar -and plays virginal but savvy Diana, the means by which the challenge is ingeniously met. Her role as ‘commentator’ helps to alleviate any credibility issues – hey: it’s a story that makes a point, OK?

Alice Pearce is very centred and sincere as Helena, who brings the inherited talents of her late father to curing the ailing King of France (a languid but firm Reddyn Wallace).

Adam Osborn-Smith makes each step of the progress of Bertram so credible we can happily believe he might well grow beyond his self-centred stage and become a good husband to Helena.

Lizzy Eden’s Countess and Alice Sisley’s (gender-swapped) Lafeu play it up as martini-sipping ladies of leisure, and Anton Burian and Te Aihe Butler do good service as Lords in army uniform.

It all unfolds within a mere hour with clarity and delight, leaving us to ponder the question-marked title, although if we go by Diana’s tone in the final song, "Yeah right" is the appropriate response.
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