as a comedy. By definition, tragedies end in death, comedies with weddings. Nobody dies during, but the climactic wedding in the final act hardly ends with the happy couple basking in the rosy romantic glow of a strongly implied happily ever after.’s compelling staging leaves audiences instead with a sense of unease. There are no clear heroes in this story, only deeply flawed humans who lash out with obsession and cruelty when they’re overwhelmed by their passions.
Again and again, Cooper’s ensemble highlights the messy, contradictory, potentially traumatic wages of unrequited love. Helen is overwhelmed and “undone” by the intensity of her feelings for Bertram. Bertram is horrified and enraged at being forced to marry her. Time and again, the scene stealer in this production is Mark Bedard as Parolles, Bertram’s best friend and an endlessly self-aggrandizing braggart. Parolles’s very name is rooted in the French “parler,” to talk. Bedard makes the character’s feckless verbosity wonderfully vivid, right up to a clever reveal that shows the blowhard in an entirely different light.
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