A recent production of Shakespeare’s ‘As You Like It’ has captivated audiences through its vibrant performances and modern staging.
Young Rosalind, portrayed with playful charm by Nora Eschenheimer, dons male attire to escape the clutches of her uncle, Duke Frederick, convincingly brought to life by Maurice Emmanuel Parent.
Joining her on this adventure are her cousin Celia, characterized by Clara Hevia’s infectious energy, and the amusing court fool Touchstone, played with delightful humor by John Kuntz.
The trio embarks on a journey to the Forest of Arden, where they reunite with Rosalind’s father, the rightful Duke Senior, also portrayed by Maurice Emmanuel Parent.
In this haven, they encounter the introspective Jaques, brought to life by Paul Michael Valley, who skillfully delivers the iconic ‘All the world’s a stage’ speech.
A romantic twist unfolds as Rosalind meets Orlando, played by Michael Underhill, who is embroiled in familial strife with his brother Oliver, depicted by Joshua Olumide.
Despite their shared history of love at first sight, Orlando fails to recognize Rosalind in her disguise, opening the door for comedic exchanges as she offer clever lessons on wooing her female persona, thus adding witty commentary on identity and gender roles.
The success of ‘As You Like It’ often hinges on the chemistry between Rosalind and Orlando, and in this production, Eschenheimer and Underhill deliver a convincing portrayal of a couple intertwined by fate and affection.
The Forest of Arden serves as a pivotal backdrop, representing a retreat from the pressures of court life.
Unlike other Shakespearean plays, this one allows characters and audiences alike to pause and reflect, as they leave the urgency of their previous lives behind.
Duke Senior encapsulates this idea, suggesting there is wisdom in nature itself, as evidenced by the enchanting notion of ‘tongues in trees and sermons in stones.’
Adding to the experience is a lively sing-along led by Jared Troilo as Amiens, who, along with Peter DiMaggio on guitar, enhances the atmosphere with melodic interludes.
The cast, which includes Remo Airaldi, Siobhán Carroll, Cleveland Nicoll, Patrick Vincent Curran, Kandyce Whittingham, Brooks Reeves, and Stephanie Burden, explores themes of belonging and self-discovery amid pastoral beauty.
Under the direction of Maler, the artistic team created a striking visual contrast between the oppressive court and the liberating forest through the work of scenic designer Riw Rakkulchon, lighting designer Eric Southern, and sound designer Aubrey Dube.
The court is depicted as a bleak, Brutalist space filled with metallic tones, chain-link fences, and graffiti, with costumes designed by Miranda Giurleo echoing the dark ambiance.
In stark contrast, the forest bursts forth in vivid color, reminiscent of Paul Gauguin’s captivating Post-Impressionist landscapes as characters transition to a natural, vibrant world.
Despite the artistry in design, some issues persisted, notably the cumbersome transition between settings, which detracted from the fluidity of the experience.
Additionally, some performances felt overly exaggerated, such as Burden’s portrayal of Phebe, whose comedic delivery bordered on farcical, reminiscent of a different theatrical genre entirely.
Nonetheless, the talented ensemble effectively remains true to Shakespeare’s original prose and poetry, delivering a modern twist that invites audiences to reflect.
In a fitting nod to the nostalgic charm of the Forest of Arden, Celia’s comment encapsulates the essence of the production: ‘I like this place. And willingly could waste my time in it.’
With its unique interpretation, this rendition of ‘As You Like It’ explores timeless themes of love and identity, leaving a lasting impression upon theatergoers.
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