It's a curious fact of Shakespearean life how some plays go in and out of fashion: we've lately been seeing a lot of Julius Caesars (no doubt thanks to affinities with Donald Trump), and we always see a lot of Hamlets and Macbeths (both the RSC and NT are both set to produce new productions of the latter in February and March).
All's Well That Ends Well
Helena has lost and buried her father. Now an orphan – and an outsider – she pines for the love of Bertram, the son of her adopted family. He too is reeling from the death of his father. Will grief unite or divide them?
When Bertram leaves to become the King’s ward, Helena risks her life to win his love, but only succeeds in driving him away. What follows is the story of one woman on a mission: a new kind of heroine who is prepared to stop at nothing to get what she wants. Set in a decaying world where kings are dying and wars are brewing, this is a knotty tale of young rebellion and boundless determination.