Director Blanche McIntyre talks to Gill Sutherland about taking the reins on the brilliant digital-age All’s Well That Ends Well at the RSC
It goes without saying that directors at the RSC are clever and creative, but director Blanche McIntyre is all that in spades and then some. She talks to Gill Sutherland about taking the reins on the brilliant digital-age new production of All’s Well That Ends Well.
All’s Well has just previewed, how did it go?
It’s going really well thank you. I had no idea how an audience would take it and I was terribly nervous on the first preview because obviously it’s such a complex play and there’s some unpleasant ethical conundrums and also all this humour so I didn’t know how it would land. So far the two audiences that we’ve had have been very up both for both sides of it.
It is a complex play, the sexual politics of it are so dodgy.
The whole thing is a horrible can of worms and the central bed trick [when Helena fools Betram into having sex with her] is just ethically awful. All the causal cruelty around it - the terrible single-mindedness about the ethics of pursuing someone whether they like it or not.
This production sits at the end of the run-through of the canon – which Gregory Doran started
in 2013 with Richard II – so
that’s a big deal.
Tell us how it came about that you’ve taken it on.
The RSC called me and asked me to pitch it and I said that’s very exciting but are you sure you want it as your final play because it’s not a comedy where the bow is nicely tied at the end? They said this is the kind of thing that we want we’re not into nice neat answers.
What was the pitch?