As You Like It Review: RSC’s Garden Party Falls Flat

You expect lush greenery in As You Like It since Shakespeare’s characters flee to the forest to discover love and liberty. However, Liam Bunster’s wooden stage in the RSC’s outdoor theatre surprises with a mesmerizing aquamarine hue. In this play, the themes of identity and affection are explored through disguises, games of gender, and characters losing themselves only to emerge transformed.

This summer production trims the original text to a concise 80 minutes. Theoretically, this allows for bolder choices and a streamlined narrative. One might even expect the omission of less engaging elements, like the jester’s stale jokes. However, Brendan O’Hea’s direction does not seem to clarify the play’s core themes or enhance its comedic aspects sufficiently. It feels rather ordinary, aimed perhaps at families and those seeing Shakespeare for the first time.

Shakespeare’s opening scenes are filled with brutality and peril, and this directorial approach quickly dives into danger. Letty Thomas, playing the heroine Rosalind, starts off in somber navy attire. After her character is exiled from court and disguises herself as a man, she adopts a stylish, casual demeanor under a chocolate trilby hat. Thomas really finds her stride and accelerates her performance when the flirtations with Orlando begin. Thomas, who recently appeared in Paines Plough’s dating drama Strategic Love Play, seems aptly cast for Shakespeare’s comedic elements.

Luke Brady plays a bashful and sincere Orlando, albeit with a seated performance due to an injured ankle. This situation led to an inventive solution where Peter Dukes, playing the wrestler, convincingly fights himself – complete with a kick in the groin, throttles, and falls – all while Brady looks on from the sideline with intense focus. In a production that often lacks originality, this inventive response to Brady’s injury was refreshing.

Another creative touch is Bunster’s desirable costumes. Christina Tedders, as the questioning Celia, arrives in the forest adorned with flounces and a baby-blue hatbox, evoking a Marie Antoinette-like aesthetic in her shepherd’s attire. Tedders’ portrayal of Celia captures the essence of her friendship with Rosalind, which is a highlight of the early scenes. Even though their witty exchanges are shortened, Tedders subtly conveys the emotional gap as they drift apart unnoticed by Rosalind.

The cast, composed of actor-musicians, ensures that everyone has their moment – be it a dance, a revealing insight, or a burst of song. Trevor Fox, as the cynical and foppish Jaques, delivers the famous line “All the world’s a stage” as a biting critique of human gullibility. Additionally, there’s noticeable chemistry between Natasha Magigi’s dynamic shepherdess and Chris Nayak’s sorrowful suitor. However, despite these individual performances, the production never quite captures the play’s ultimate journey towards renewal.