As You Like It

I always relish the opportunity of spending an evening in the theatre with Shakespeare’s joyous, sometimes rambling comedy As You Like It, a romp of a rom-com, shaded with deeper, somewhat darker resonances.

It’s been my favourite (I’m not saying the greatest) Shakespeare since I first saw it in the early 1970s. It resonated personally at the time, with the story of Rosalind and Celia fleeing to the Forest of Arden to escape the injustices of a corrupt ruler, mirroring my university friends escaping the city for the more idyllic lifestyle of Nimbin. Whitlam was PM, conscription had ended and university education was free. Arden’s transformational, healing powers, it seemed, had briefly rubbed off on our cities and our leaders.

And who doesn’t love Shakespeare’s the ageless vision of the fools we make of ourselves over love, rich as it is in its grasp of human nature.

The universality of the darker underside of the play ensures it resonates at any time and place when society loses its moral compass with regard to the disenfranchised, though equally As You Like It celebrates redemptive times of social transformation; no wonder it lends itself to such varied settings, not so distant from the here-and-now.

Peter Evans’ current production is less lively, boisterous and energetic than many I’ve seen. In his post-show speech on opening night he alluded to current social injustices, and clearly his substantial cuts and direction sway the balance and voice in this production, pointing up the darker side of man’s injustice to the disenfranchised. Even the lighthearted gender and identity confusion of the play tend to take a bit of a back seat.

Rosalind (Zara Newman), the niece of the current Duke (he usurped her father), banishes her, perceiving her popularity as undermining his authority (a ploy of so many contemporary dictators and coup leaders).  This drives his own daughter Celia (Kelly Paterniti) into self-imposed exile with her cousin. Newman’s Rosalind / Gannymede is a strong, single-minded portrayal, while Paterniti’s Celia / Aliena provides a bright, vibrant contrast, balanced, with the greater practicality and sensitivity (it's a new favourite portrayal of the role for me). Their a chemistry and contrast works, and they look stunning at first appearance in striking 60s outfits by Kate Aburey-Dunn.

Less certain is the chemistry between Newman and Charlie Garber as the object of her affection, Orlando. The fun and confusion central to their cross-gender wooing and sparring never takes full flight. Gareth Davies’ Touchstone is a classic interpretation of this archetypal fool / jester.

In a small ensemble cast of eleven, the remaining company members play double or multiple roles, and handle the required switches and contrasts effectively. The aptly named Alan Dukes establishes the two polarity of the brother dukes, while Emily Eskel (Phebe) and Abi Tucker (Audrey) are fun as the rural vixens, while capably doubling up as a range of courtiers.

Tony Taylor and John Bell cap off the cast splendidly. A classic clown, Tony Taylor carries off the aging servant Adam and the rustic philosophy of Corin with aplomb. John Bell clearly revels in the OTT foppery of Le Beau, contrasted splendidly with the melancholy wit and cynicism of Jaques, his suprmely nuanced delivery of ‘All The World’s a Stage’ a highlight, ahead of a late-show quick change that’s well worth the waiting.

The evening comes to the usual joyous end with Kelly Ryall’s ‘60s setting of Shakespeare’s verse, featuring splendid girl-group harmonies before the whole cast join the fun, ahead of the epilogue.

I left the theatre having spent a pleasurable night watching and listening to this favourite of mine, though not with the same sense of side-splitting fun I’ve sometimes taken away. My state of mind was more contemplative.

Shakespeare gilded the pill, joyously balancing darker messages with a wealth of lively comedy in As You Like It, sugar coating which director Peter Evans has, ultimately, probably peeled back just a little too far in pursuit of deeper contemporary meaning and resonances.

Neil Litchfield

Images: Zahra Newman, the As You Like It Company, Kelly Paterniti, and John Bell, Gareth Davies, Kelly Paterniti and Zahra Newman ®Rush.