Director: Michael Kahn

Playwright: William Shakespeare

Set Design: Court Watson

Costume Design: Robert Perdziola

Lighting Design: Charlie Morrison

Sound Design: Martin Desjardins

Composer: Adam Wernick

Choreographer: Karma Camp

Stage Manager: Joe Smelser

With: Bev Appleton, Michael Bakkensen, Nick DePinto, Conrad Feininger, Daniel Flint, Kevin Hasser, Russell Jonas, Marsha Mason, Natalie Mitchell, Barbara Pinolini, Caitlin O’Connell, Charity Pomeroy, Tony Roach, John Schiffbauer, Miriam Silverman, Ted Van Griethuysen, Kristen Varvaris, Paxton Whitehead, Scott Woltz, Kevin Woods, Danny Yoerges

There’s no two ways about it: All’s Well is a problem play. Taken from one of the tales from the Decameron, the work seems to be one of the least-read of Shakespeare’s oeuvre, though one that has a tremendously modern sensibility.

Michael Kahn set our All’s Well in the 1914 / WWI era, a time of war, but also a time of social upheaval - when women were rising in equality: Between 1910 and 1920, a host of Western industrialized countries granted women the right to vote, including the US, UK, Canada, the Netherlands, Sweden, Denmark, and Germany.

With a wonderful scenic and costume design, the play was made all the more beautiful by my lovely wife, who played Helena.  (Lampposts all around DC were festooned with the poster on the right. That’s my wife. Uh, the shorter one.)

Random review

....Here.

Playing Lavatch as a saucy servant, I, uh, did a lot of pelvis thrusting. Here I do it to the Countess, Marsha Mason.

Photos by

Scott Suchman