As You Like It

The Forest of Arden in Alex Kendall Robson’s As You Like It is happy, golden place where sheep graze and lovers and shepherds “run into strange capers” and sing sweet songs. As director, he focuses on “the sweetness of the play” and Shakespeare’s gentle social satire.  

Choosing to make it two Duchesses in command, Kendall Robson gives the production a nice feminist twist. Thus, it is a mother who condemns her niece (and inadvertently her daughter) to exile. And it is a mother who welcomes her disguised daughter and niece into exile in the forest.

Kendall Robson knows his play and his characters. He realises where doubling will work, knows how swift a pace needs to set, and how much the music of life plays through the dialogue. So, he begins with a “merry note” and a playful piece of stage business that sets the momentum that will drive his production.  Every scene is carefully timed, every action relevant, every character true, every word distinct, for “words do well when he that speaks them pleases those that hear.”

Kendall Robson has assembled a clever multitalented cast who feel the rhythm of the language, understand the pulse it generates and how Kendall Robson uses that pulse to define every movement and gesture, every carefully planned action and reaction, each precisely timed character and costume changes, some so swift one character literally becomes another on the run.

Music permeates the production. From the gentle plucking of a guitar before the action begins, to the violin that takes over, to the songs and harmonies that link the scenes, it brightens the action, reinforcing the overall “sweetness” of Kendall Robson’s vision.

The action is cloistered in a forest of sturdy bookcases hung with greenery, on a carpet of colourful rugs and walls of vines drawn by the cast at interval. There is a real sense of togetherness in this production, a harmony that realises the director’s desire for the production “to get lost in the joys of the Forest of Arden.” There is no performer who isn’t in each moment, alert, watching, listening.

Jade Fuda is a perspicacious Rosalind, quick to reason, quick to love, quick to question, quick to hoodwink Orlando. Fuda moves lightly on the arena stage, a small lithe figure who is as acutely aware of the encompassing audience as she is of the characters in her little sphere. Her movement are precise, deliberate, spurred by resentment one moment, affection the next, self-protection always. There is grit in Fuda’s Rosalind, and strength – and a sense of fun she shares with her cousin Celia.

Celia is an acute observer, and Larissa Turton makes her constantly aware, perceptive, rationalising. Turton uses her eyes effectively, her face expressively. Her Celia is open, a little mischievous but cheekily so. There is no malice in the character she portrays, her actions are based on loyalty and doing good mixed with a sense of fun.

Pat Mandziy introduces the main themes of the play as Orlando in a beautifully timed and articulated speech that definitely “pleases those that hear” – and establishes his character clearly. This “third son” is equable, level-headed, a good judge of character – but is rendered speechless by Rosalind’s charm and beauty. When she is disguised as Ganymede in Arden, it is her wit that attracts him – and both actors relish the clever banter Shakespeare gave these two intelligent characters.

Touchstone watches – as Shakespeare’s “fools” do – then comments in any way but foolishly! Zachary Aleksander, an accomplished musician, makes Touchstone as much minstrel as clever clown, charming the court and the audience with discerning words and music as he moves elegantly around the stage.  

Sonia Kerr plays the Duchess mothers. As Françoise she is stiff, aloof and cold, indifferent to her niece’s – or her daughter’s pleas – as she banishes her niece and calmly accepts the fact that she will also lose her daughter. In Arden, however, as Senior, she is relaxed and caring, welcoming the two disguised newcomers to the relaxed charm of the forest community.

Nicholas Starte is both Orlando’s older brother, Oliver, and the shepherd Sylvius. Starte moves from one to the other skilfully, using stance, movement and his expressive eyes to differentiate the image and status of each. Some of his changes occur almost momentarily, but there is never any carry over from one to the other, even in the final wedding scene!

Kendall Robson himself plays Jaques, the forest philosopher who enlightens the folk in Arden about the passage of life in the famous “All the world’s a stage” speech. Kendall Robson’s strong stage presence and the character he has devised for Jaques gives the speech both a ‘worldly” and contemporary sagacity – that goes almost hand-in-hand with the much more relaxed, wise old shepherd he becomes as Corin. There is a settled joy in this character that reflects the Kendall Robson’s vision for the play.

Meg Bennetts relishes the fun to be had in playing Phebe the shepherdess and Audrey the goatherd – often almost simultaneously! As Phebe, in love with disguised Rosalind, but pursued by and ardent Sylvius, she is lovelorn and indignant. As Audrey she is a more on the ball and flirtatious especially in the company of Touchstone. Bennetts has a clever stage presence and strong audience appeal, which makes both these characters memorable.

Jack Elliott Mitchell plays a trio of characters, each one clearly differentiated. As Adam, the loyal old retainer who follows Orlando into exile he adopts a slight stoop, slow steps and beseeching voice. As Charles, the court wrestler he is fit, jaunty, aggressive. As William, a simple country boy, he is reticent, accepting.

Max Fernandez also plays a trio of characters, Le Beau a courtier in the court of Françoise, Amiens, a faithful lord who followed Senior into exile, and Hymen the colourful, horned god of marriage, who brings everyone together for the triple wedding and happy party that concludes the play. Fernandez, who leads much of the singing that makes this production so poignant, makes each of these characters very clear. He also plays one of the soulful sheep who add rustic charm to Kendall Robson’s vision.