Review: As You Like It (Royal Shakespeare Theatre)

Review by Raphael Kohn

⭐️⭐️⭐️⭐️⭐️

In Shakespeare’s time, there was absolutely nothing unusual about men playing women’s roles. Actually, it was more than that – it was the norm. For a production in 2026 to do that, it could have been seen as a radical choice. But in the Royal Shakespeare Company’s new all-male production of As You Like It, led by none other than American theatrical superstar Jonathan Groff, it doesn’t feel radical. It doesn’t feel surprising, even. It simply feels completely normal, part and parcel of this glisteningly brilliant new staging that simply dazzles with theatrical bliss.

For a comedy, it started rather ominously. Devoid of colour, the opening act set in the court of Duke Frederick is a smoky, monochromatically modern start. The clothes (by designer Colin Richmond) are a collection of swanky uniforms and outfits, with hints to the modern day (such as a boxing cummerbund and electronic headphones) matched by almost period detailing on the dresses. You’d be forgiven for thinking you’d ended up at the wrong theatre to see a political drama.

But then, the venue transforms into the rural setting for the rest of the production; the back wall of the set rises to reveal the beautiful forest of Arden, pyrotechnic sparks erupt and light flashes dazzle the room. Or, at least, that all should have happened. On the grand press night, though, a technical stop lasting over an hour brought the big reveal to a halt, only resolved finally by the tireless backstage team manually lifting the entire back wall into the fly tower. The show must go on, as they say.

I’d have forgiven the actors if they’d lost their way and dropped their energy after what I counted to be a pause lasting an hour and 20 minutes. But not a single person did. As if by magic, revealing the forest once again, it was as if the stop never happened and we were ready to pick up right where we left off. Gone was the urban court with its stark aesthetics, and in came the Welsh valleys. That’s not quite what Shakespeare wrote, of course; the Forest of Arden itself is in the English West Midlands. But in Daniel Evans’ new production, the setting is transported to rural Wales, making for an evocative and beautiful new interpretation.

The contrast could not be more clearly made. Anisha Fields’ oppressive white set for the opening scenes at court lift to reveal a gorgeous hillside, full of hidden surprises, hiding places and tricks which are brilliantly used throughout the play. Ryan Day’s lighting, harsh and bright with precise projections in the opening scenes fade into beautiful sunsets and natural, warm colours. Even the soundscape, initially full of pumping synth-pop beats, transforms into a capella Welsh-language hymns, sung live by the cast. And with this all comes a total tonal shift from thrilling and dramatic politics to gentle, pastoral comedy.

That tonal shift marks a turning point that sets the course of the show in a firmly comedic direction from then on. Evans directs the production with absolute expertise, letting the ebbs and flows of the pacing create fabulously funny comedic exchanges while also perfectly decelerating at times to really enjoy the more heartfelt and balanced interpersonal moments. But of course, that’s also to the credit of his finely-assembled cast, starring Jonathan Groff in his RSC debut as Rosalind.

Groff is, at his heart, a tremendous showman. We’ve seen his musical talent in Hamilton, Merrily We Roll Along, and more. Shakespeare, however, requires a different skillset; one which he has in spades. Within seconds it’s impossible not to fully believe him in the female role of Rosalind, conjuring the character not through high-voiced gimmicks or cheap jokes but through intricately detailed characterisation. It’s rather difficult to take your eyes off him throughout as he commands the stage, bringing levity and humour in abundance.

Perhaps the best thing that Groff has, however, is an absolutely effervescent chemistry with his co-star Fisayo Akinade as Rosalind’s cousin Celia. There’s a slightly sillier side to Akinade’s Celia, sometimes sidelined by the narrative and placed to add detail on Rosalind’s plotline rather than her own, but Akinade’s brilliantly intelligent and elaborate portrayal fundamentally grounds Celia in her own story. I can hardly imagine the role ever being done better.

As Orlando, Rosalind’s lover, Elliot Barnes-Worrell is a treat, completely duped by Rosalind’s deception when disguised as a man. Though not given as much material to work with as others, he still finds enough detail in the spaces left by Shakespeare to truly elevate his performance. Shakespearean veteran Richard McCabe takes on the role of Jaques, another highlight in his melancholy delivery of the “All The World’s a Stage” speech, finding new meaning in a speech known the world over.

I could go on; there are zero weak links in the entire collection of performers. Gareth Snook is an absolute comedic delight as Audrey, especially in his rather unexpected vocal turn performing one of the biggest pop hits of the last 12 months, but I’ll leave the surprise of the moment for you to enjoy for yourself. Accompanied by the rest of the cast, singing Theo Jamieson’s delightful vocal arrangements, modern and traditional elements blend together in a moment of transcendent joy.

But as for the gender-swapping itself: ultimately, it proves itself to be nothing radical or surprising at all. After all, the plot itself hinges on playing with gender and sexuality; Rosalind disguises herself as a man so as to not be discovered and gets Orlando to practice romance with her. There’s already a thoroughly queer narrative woven into the plot already. In adding an extra layer of gender-muddling, it’s almost as if a homo-normative stamp is placed on Evans’ interpretation, as if gender never mattered at all in the characters’ feelings for each other and the only barrier to their love is their hidden true identities.

In avoiding making it into a gimmick, Evans doesn’t draw out extra laughs from the gender-swapping. After all, he directs the rest of the play so deftly that the comedy simply speaks for itself. But he also makes space for genuinely heartfelt moments, where true love takes shape and authentic connections form on stage. Partnered perfectly with Jamieson’s gorgeous chorales and folk songs, the result is a work of genius, sublime from start to finish and sparkling with joy.

As You Like It plays at the Royal Shakespeare Theatre until 7th November 2026. Tickets from https://www.rsc.org.uk/as-you-like-it/

Photos by Marc Brenner