Even though
each trailer for Shakespeare’s All’s Well
That Ends Well highlights unique facets of this masterful work, neither
advertisement fully succeeds in capturing the brilliant complexity and dark
comedy that characterize this play. The
National Theatre trailer, on one hand, offers the audience sweeping cinematic
shots and moments of high drama accompanied by a score that evokes mystery and
enchantment. This approach effectively
conveys the dark (and at times, sinister) undertones beneath Helena’s deceitful
plots of “wicked meaning in a lawful deed” that are “not sin, and yet a sinful
fact” (3.7.51-53). The grandeur of the
production also implies that the audience should treat Shakespeare’s text with
proper respect. Almost diametrically
opposite in tone and style, the STC advertisement chooses instead to emphasize
the play’s comedy and absurdity. This
trailer not only includes a narrated summary of the plot, but it also shows
clips of dancing and laughter that reflect the play’s lighthearted roots –
roots which are evident in scenes like Lavatch’s circuitous account of his
“bountiful answer that fits all / questions” (2.2.13-14).
Despite
these vastly different presentations of All’s
Well, both trailers commit the same error:
oversimplifying Shakespeare’s marvelously complex work. The National Theatre commercial, though
enticingly dramatic, almost takes itself too seriously by leaving no room for
the tongue-in-cheek humor of “honour” kept in “box[es] unseen” (2.3.275). The STC trailer partly captures this playful
tone, but its emphasis on silliness ignores the myriad of traps the characters
set to expose the flaws of their peers. Furthermore,
neither trailer gives Shakespeare’s dialogue – rich with puns and witticisms
that have ensured his work’s longevity – any screen time, ignoring one of the play’s
strongest assets. Ultimately, both
productions should have embraced this comedy’s quirks, allowing its wordplay
and its problematic dance between light and dark to take center stage.
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