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(The aura can't be scraped away entirely, because we still know who the playwright is, and we've seen certain features--blank verse, syntax both dense and rapid, lower cardinal class buffoons, virtuous heroines--many times before.) The production certainly helped. The house was small; everyone spoke clearly and meaningfully. The director also added bits of business to beef up comic scenes, and the very end. But the play more cardinal than stands on its own two feet. cardinal The main problem is gripping. Helena loves Bertram, who doesn't love her back. She pursues him with a devotion that is just short of painful. He seems like a fool--except that his freedom is at stake. Why should he marry a woman just because she and his mother want him to, and the king commands it? The subplot turns on Parolles, a blowhard who fools some of the characters into thinking he's a bigshot.
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