All's Well That Ends Well, 2026

Shakespeare in Performance presents
All’s Well That Ends Well

By William Shakespeare (1564-1616)

April 9-18, 2026

Directed and adapted by Travis Curtright, PhD

YOUR PLAYERS

Countess of Rossillion:  Kimberly Eads

Bertram:  Dhilan Mathews

Helena: Clare McNeill / Catherine Mullen

Parolles: Abraham Guerra / Karl Chojnacki

Reynalda:  Lucy Torkelson

Lavatch: Kilian Flynn

Isbel:  Julia Nelson

King of France:  Jacob Schroeder

Lafew:  Jesse Rodgers

First Lord Dumain: Oliver Agren

Second Lord Dumain:  Ben Hogan

First Soldier/Interpreter: Carson Shaw

Judith: Marija Scheuren

Diana:  MaryClaire Egan / Lily Budke

CREDITS

Assistant to the Director: Julia Nelson

Stage Manager: Jenna Gulch-Josten

Production Intern:  Kilian Flynn

Blocking Notes and Dramaturgy: Julia Nelson, Jenna Gulch-Josten, Tori Smith

Scansion, Figures, & Paraphrasing: Tori Smith

Dance Captains:  Kimberly Eads, Julia Nelson

Warm-Up Leaders:  Kimberly Eads, Karl Chojnacki, Kilian Flynn

Sound and Lighting: Tori Smith, Julia Nelson

Hair and Makeup: Lucy Torkelson, MaryClaire Egan, Marija Scheuren, Jenna Gulch-Josten, Julia Nelson

Costuming: Jenna Gulch-Josten, Travis Curtright, Julia Nelson

Marketing: Julia Nelson, Kilian Flynn, Jacob Schroeder and the troupe

Ticketing & Hospitality: Julia Nelson, Carson Shaw, Marija Scheuren, Catherine Mullen, Clare McNeill, Karl Chojnacki, Abraham Guerra, MaryClaire Egan, Lily Budke, Branden Pannell

He's just not into you. But what if you could change his mind? Meet Helena, who is desperately in love with Bertram—a man who leaves his country to avoid her. But delulu is the solulu. All’s Well That Ends Well, directed and adapted by Professor Travis Curtright.

The production set Shakespeare's text in the present day, with smartphones replacing letters, Instagram profile spoofs and text-message chains anchoring the marketing campaign, and the King's notorious fistula reimagined as blindness. In a signature SIP twist, a different audience member was cast each night as the fourth lord, recruited on the spot to endure Helena's rejection as she chose her husband over him.

This production also included an SIP literary magazine, produced entirely by the troupe. It features critical essays debating Helena's character, cast interviews, and infographics tracing her scheme — a window into the training and artistic choices behind the show.