In Shakespeare’s plays, forests are often the settings of great chaos. From Macbeth’s moving Birnam Wood, which brings violence and murder, to Cymbeline’s sense of familial reconnection, the natural world is a rich environment for the Bard’s writing. It is no surprise, then, that it is in the forest where most of the chaos and courting take place in this gentle staging of his pastoral comedy As You Like It.
Co-directed by Sean Holmes and Charlie Josephine, this new interpretation of the comedy places the piece in the 18th century, set within the Georgian court of the cruel Duke Frederick (Colm Gormley). After banishing his brother Duke Senior, Frederick sees fit to chuck out his niece Rosalind (a remarkable Lola Shalam) for good measure as well. Also facing the chop is Josephine’s Orlando (Josephine), a slightly hapless son of Frederick’s enemy and an unexpectedly competent wrestler, whose winning bout earns him his removal from court.
Eventually, as is typical in Shakespeare’s comedies, the characters retreat to the forest for sanctuary, with this journey leading to the Forest of Arden. There, characters fall in love, with Orlando pining after Rosalind after catching her eye mid-grapple. Rosalind, again as expected in these works, disguises herself as a man, Ganymede, and, with help from Celia (Gracie Oddie-James), soon conspires to have Orlando woo her, to great comedic effect.
Indeed, while this comedy relies far more on its wordplay than its physicality, aside from an outstanding turn as the fool Touchstone from a tireless Jonnie Broadbent, As You Like It remains highly accessible, entertaining, and creative in its design.
Shalam shines in the lead role, oozing a terrific level of charisma as the emboldened Rosalind. Shalam’s comic timing is snappy and engaging, working particularly well alongside Oddie-James, who excels as the pair strike up a quickly believable and entertaining bond. Shalam is superb in the play’s resolving moments, with her reveal as Rosalind standing out as a deftly affecting scene amid the comedic chaos across the stage.
Josephine’s Orlando is a little too outlandish in moments, feeling slightly out of place in the reserved Georgian court during the opening act. But it is a performance that settles, and Josephine’s directing, alongside Holmes, leans well into the play’s use of physicality to make the language clear given its reliance on verbal gags. It is goofy without losing its way and remains lighthearted, largely because, unlike most of Shakespeare’s other comedies, the plot carries little genuine jeopardy.
Stealing the show, however, is the peerless Broadbent, looking completely at ease and lapping up the laughter as the barely dressed, relentlessly bouncing fool. This is an excellent performance, sharp and witty, with a brilliant inclusion of surprising physicality that earns every laugh. This energy is intensified when Touchstone’s relationship with the maid Audrey (Phoebe Naughton) blossoms, where the direction remains precise and appropriately jovial.
Yet it is also a production that shines thanks to its ensemble. Gormley is on terrific form not just as the villain but as the carefree shepherd Corin, while Peter Bourke’s ancient servant Adam is a fun cameo. Moreover, Molly Madigan’s Phoebe, infatuated with Ganymede, provides a fun second-half subplot, aided neatly by the sweetly gormless portrayal of the lovestruck Silvius (Busa Wickramasuriya).
While it is an exceptionally acted piece, As You Like It takes some interesting creative risks as well. The stage is initially surrounded by enormous blank canvases which, as the comedy unfolds, are drawn and painted on live in a tremendous creative effort, using colour to track the changing mood of the romance through the forest scenes.
Furthermore, Katie Richardson, who also performs as goddess Hymen, composes the score, bringing to life the lyrics written into Shakespeare’s script with an almost haunting quality. Richardson’s musicality is powerful and injects great energy on its own, especially during transitions, which gives moments to the rural-living characters, singing joyfully macabrely as they swing poached deer about, though the decision to include so much call and response feels slightly forced and offers little.
While the reimagining to the Georgian court feels like a slight excuse just to wear big wigs, As You Like It is big on laughs. This is a strong and accessible production of one of Shakespeare’s wordier comedies, brought to life by a terrific ensemble and creative team all pulling together under focused direction.
