All’s Well That Ends Well
Design Notes
This production of All’s Well That Ends Well, directed by Rob Salas, unfolded through an operatic lens—curtains became the architecture of transformation.
In Roussillon, blue drapes and heraldic signage established the French court with clarity and restraint. Rather than building elaborate structures, the design relied on fabric and light to define the world, shifting fluidly as the story demanded. A pedestal, introduced to display the rings, provided a ceremonial anchor that reappeared throughout the play.
When the action shifted to Florence, the curtains swept back to reveal stucco walls and vines, instantly warming the stage with Mediterranean texture. The addition of topiaries and garden elements enriched the Italian setting, allowing comedy, romance, and deception to flourish within a space that felt both playful and theatrical.
The rhythm of reveal and conceal echoed opera itself—grand, precise, and emotionally charged. Each movement of the drapery heightened the sense of spectacle, underscoring Shakespeare’s tale of pursuit, disguise, and resolution.
