No less a critic than George Bernard Shaw complained that Shakespeare wrote “As You Like It” as a cheap crowd pleaser. It’s true that among the convoluted, cross-dressing, contrived plots in Shakespeare’s comedies, “As You Like It”, playing at the Center House Theatre, goes over the top on all counts. And the philosophical musings of melancholy courtier Jacques including the oft-quoted “All the world’s a stage” speech, feel forced and out of place in the midst of all the broad romantic horseplay. Artistic Director George Mount chooses to direct Seattle Shakespeare Company’s season closer with a light rom-com touch.
The plot in brief (if brevity is possible with such an intricate plot): The despotic Duke Frederick (Ray Gonzalez playing the heavy) ousts his older brother, the courteous and democratic Duke Senior (Keith Dahlgren), who flees to the Forest of Arden where he is joined by other nobles loyal to his cause, including the melancholy Jacques (well intoned by David Pichette). Frederick later banishes Duke Senior’s daughter Rosalind (Hana Lass) who disguises herself as a man and also flees to the forest accompanied by Frederick’s daughter Celia (Rebecca Olson), and the court jester Touchstone (Darragh Kennan.) Shortly before her flight, Rosalind falls in love with Orlando (Nathan Graham Smith) who escapes the murderous machinations of his older brother and Frederick’s co-conspirator Oliver (Peter Dylan O’Connor) by also fleeing to the forest. Frederick orders Oliver to the forest in pursuit of Orlando. Away from the complexities of court life and in the grip of Nature in all its beauty and harshness, the banished develop an appreciation for country life and the power of love in its many forms. A number of deus ex machina plot twists result in a happily ever after ending including a quadruple wedding and resumption of all rightful inheritances.
The complexities of gender identity/sexual politics get a workout as Rosalind, in male guise as Ganymede, “pretends” to be Rosalind in order that her true love Orlando, can “practice” wooing her. Add to this double gender-bender the fact that during Shakespeare’s time a young boy would have played the part of Rosalind, and the dialogue takes on ever more twisted innuendos.
Lass and Olson are excellent as cousins and BFF’s Rosalind and Celia.
The diminutive Lass excels whether she sighs with love-lust over Orlando, or dons the swagger and deep voice of Ganymede. Olson’s charming, worldly-wise Celia invites the audience to join her in amazement over the folly of lovers; that is, until she herself succumbs.
Smith excels as the manly, love-struck Orlando whose ill-rhymed poetic tributes to Rosalind astonish the two cousins. Darragh Kennan’s physical and verbal comic prowess is on display as antic clown Touchstone whose pursuit of buxom shepherdess Audrey (promising newcomer and recent Cornish grad Donna Wood) is the counterpart to Orlando’s earnest, albeit comic, attempts at courtly love.
Craig Wollam’s beautiful set transitions from chilly early spring to the fullness of late summer as love literally sets the forest abloom. Doris Black’s colorful Louis XIV era costumes are apropos in light of that court’s interest in pastoral pastimes; think Marie Antoinette and her ladies-in-waiting playing milkmaid.
“As You Like It” includes multiple songs that have been here set to original music composed by Sarah McGuinn. Unfortunately the performances of the songs are not compelling enough to enhance the action and in some cases actually slow the forward momentum.
Mount has wisely dropped Rosalind’s epilogue to end with the happy marriage scene that is the fitting end to all romantic comedies. All in all, this “As You Like It”, although not stellar Shakespeare, offers the pleasures of an Elizabethan date night entertainment. Just imagine the Elizabethan swains in the back row squeezing their lasses as the sexual games proceed.
“As You Like It” plays through June 24 at the Center House Theatre. Tickets and information: www.seattleshakespeare.org
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