June 12, 2025: Theatre Yesterday and Today, by Ron Fassler

This piece ran yesterday on the Theater Pizzazz website, to which I contribute reviews. It's the first time since I've been writing "Theatre Yesterday and Today" that I felt a need to repost.

Yeah, I really want people to know about it.

The recently closed Broadway production of Othello, which starred Denzel Washington and Jake Gyllenhaal, had been charging the record-breaking top ticket price of $900. That most critics considered it sub-par Shakespeare didn’t affect the box office. People flocked to see it (rich people), happy to pay the price to brag to their friends that they saw it. If that exorbitant price kept you away, but you still have a yen to get your fill of the Bard, not only can you see an excellent production right now of his 1604 comedy All’s Well That Ends Well, but the cost of a ticket is zero. 

Courtesy of the New York Classical Theatre, under the leadership of Artistic Director Stephen Burdman, New Yorkers are being treated to an evening under the stars that is truly magical. Now in their 26th season of offering free Shakespeare in public parks, I had the time of my life in Central Park soaking in one of the best Shakespeare productions I’ve seen in recent memory. Without benefit of scenery, lighting, microphones or props (well, a scarf and a letter), all eight actors commanded the text outdoors for nearly two hours of non-stop entertainment. To use a British term, I was gobsmacked.

On Tuesday evening under a possible threat of rain, I entered Central Park on the west side at 103rd Street where a small audience was already gathered. People had brought their own blankets, chairs, and had formed a semi-circle under some trees. Stephen Burdman, who in addition to leading the company and directing All’s Well, was playing the role of head usher making sure everyone was comfortable. I was surprised there was no stage whatsoever or any lighting rigged up. Then, at exactly 7:00 pm in as loud a voice as you can imagine, Burdman welcomed us all and informed us that we would be moving with the actors as the performance progressed in “an immersive panoramic theatre style.” Once it began, the beauty of the language married to the beauty of Central Park was totally irresistible. 

The plotting of All’s Well is a bit convoluted and confusing, but this formidable troupe of actors easily made sense of it under Burdman’s confident direction and accessible adaptation. The simple synopsis in the program was more than enough to get the ball rolling, repeated here: “When Helena—a brilliant, determined young woman—heals a king, she earns the right to choose her husband. But love isn’t so simple, and Helena must use wit, courage, and a daring plan to win the life she desires.”

Now doesn’t that make you want to see the play?

Moving to six different locations, if counting correctly, the final two required two stagehands holding two flashlights to illuminate the scenes, the only concession to the creeping darkness (so primitive, so charming). The joy of our crowd growing as people who passing by joined in the revels was not only comforting, but inspiring. Shakespeare still has the power to draw you in just by someone speaking the language in a clear, true voice. It was impossible not to take in dogwalkers and joggers stopping to see what was going on and lingering, unable to pass up the chance to get in on the action. A favorite was when a park worker in a golf cart slowed down and stopped and watched the proceedings with a look of wonder. 

Out of this octet of accomplished actors, a few have been working with New York Classical for years. Among them, Nick Salamone made for an exceptionally good King. Using an aching physicality to portray infirmity, he later blossomed by way of his connection with Helena to stunning effect. Clay Storseth, like Salamone an Associate Artistic Director of the company, maintained a broad and yet all too real characterization throughout. As Lefu, he got all his laughs and then some. Particularly fetching were two young women in the cast, Angelique Archer and Briana Gibson Reeves, who changed characters as quickly as they changed costumes. Archer has a gift for speaking text that will get her far in the world of classical theatre. In the difficult role of Bertram, the young man guilty of mishandling his love affairs, Paul Deo Jr has the right look and sound for many of Shakespeare’s leading man. He is someone to look out for. Karel Heřmánek took the comedic opportunities of Parolles for an original spin and even found the pathos necessary in crafting the part. The vocal work of Carine Montbertrand got the show off to a rousing start with her speaking of the play’s first line, “In delivering my son from me, I bury a second husband.” Excelling in two roles, a wily Widow and a Countess of gravitas, she played both beautifully. Finally, Angelique Clements as Helena provided the baseline at the heart of the play, grounding the center of this marvelous ensemble acting. At one point, while Clements was speaking a soliloquy, birds began singing offering exquisite accompaniment. Seriously, $900 at Othello couldn’t buy you that.

Special credit should go to casting director Stephanie Klapper and to Voice and Speech Coach Nora Leonhardt. It’s hard to describe the pleasure of hearing actors who can not only speak verse so well, but project! Honestly, it was thrilling. Though perhaps the biggest high of the night, besides hearing words written over 400 years ago still fresh to the ear, was the chance for this dedicated New Yorker to fall in love with New York City all over again. Central Park is lushly green right now and the backgrounds and shifting colors of natural light lent a beauty that was magnificent and completely natural. No artificial ingredients. 

Not only should you plan to see this All’s Well That Ends Well, but anyone reading this should also consider donating to this non-profit theatre company. They have recently lost their National Endowment of the Arts support, like so many others across the country, and need additional finances to ensure their existence. At the end of Tuesday night’s performance, when Burdman thanked us for being there and asked for contributions of any amount, a sudden cloudburst poured down on us. Exiting the park in the rain didn’t damper anyone’s enthusiasm, with strangers acknowledging to one another what a special night it was. For two hours, everyone came together as one to share an evening as memorable as any I’ve had in fifty-five years of theatregoing. Bravo, NY Classical. May the work continue.

NY Classical Theatre’s All’s Well That Ends Well will be performed at the following venues on these dates:

Central Park / June 3-22

Carl Shurz Park / June 24-29

The Battery/Castle Clinton / July 1-6

For further information and for donating, please visit : https://nyclassical.org

Photos by Da Ping Luo.

Ron Fassler is the author of the recently published The Show Goes On: Broadway Hirings, Firings and Replacements. For news and "Theatre Yesterday and Today" columns when they break, please hit the FOLLOW button.