Review: As You Like It (Shakespeare’s Globe)

Review by Phil Meikle

⭐️⭐️⭐️

Shakespeare’s Globe is a jewel in London's theatrical crown: a venue that is both uniquely immersive and steeped in tradition. Thus, it is always a challenge to re-stage the Bard’s regularly staged work in a new, inventive way that still puts the language at centre stage. Can this latest interpretation of the classic romantic comedy As You Like It guide audiences carefree through the Forest of Arden, or will they not see the wood for the trees?

Shakespeare’s comedies often follow a familiar checklist. Feuding nobility who set the story in motion? Check. Romantic entanglements and false identities that send lovers in and out of each other’s arms until inevitable matrimony? Check. A court fool who is, in fact, the smartest person in the room? Check. In As You Like It, Duke Senior is banished to the Forest of Arden by his brother Frederick, with romantic leads Rosalind and Orlando soon following. To complicate matters, Rosalind disguises herself as a man and teaches Orlando how to woo her, while several other romances blossom around them. If you were to use pins and string to follow all of the various romantic entanglements, you would soon find yourself in knots, which is principally the problem in this production.

Having the courage to edit Shakespeare’s text is, of course, a daunting task, but a necessary one. At two hours and 45 minutes, co-directors Charlie Josephine, who also plays Orlando, and Sean Holmes show too much reverence for every subplot. The result is a series of drawn-out scenes that repeatedly interrupt the comedy’s momentum. While the Bard’s comedies nearly always end in a flurry of weddings and merriment, guaranteeing audiences a joyous finale, the production too often loses its footing in the subplots.

At the start of the play, we are treated to an abundance of high camp, with most of the cast adorned in extravagant 17th-century foppish costumes by Academy Costumes London, alongside towering wigs and knowingly gaudy make-up by Gilly Church. As the principal characters take centre stage, the wider cast lines the back of the set in a series of living-statue-like tableaux, framed by Paul Wills’ white canvases that give the impression the figures have stepped directly from their portraits. These create striking set pieces and provide a series of entertaining visual spectacles. Sadly, the blank canvases are less effectively utilised, gradually filling with drawings of black charcoal trees and green leaf motifs intended to transport us to the Forest of Arden. These designs are basic at best and, while the concept is appealing in theory, the fact that half the canvases remain blank by the end of the play makes it feel like an idea that has not been fully realised. Meanwhile, composer Katie Richardson leads the small group of musicians above the stage with dynamism and skill, interweaving the musical accompaniment seamlessly throughout the production.

As always, the cast at Shakespeare’s Globe are well-versed in the complex text and effortlessly deliver the poetic dialogue. It is often the small gestures and knowing nods that translate Shakespearean humour to modern audiences, and the Globe crowd are always enthusiastic recipients. Josephine and Holmes ensure that the entire cast gets opportunities to showcase their comedic talents, and all are warmly received. To pick out a few of the principals, Lola Shalam, as Rosalind, gives an assured and commanding performance that affords her multiple opportunities to trade comedic blows with various cast members. Her chemistry with Gracie Oddie-James as Celia is a particular highlight and, at times, is reminiscent of early  French and Saunders, complete with superb vocal comedy from both.

Oddie-James is one of the production’s MVPs and feels underused in what is otherwise a first-class comedic portrayal. Sadly, the chemistry between Shalam and Josephine, as Orlando, feels lacking. Josephine brings a distinctive East End barrow-boy energy to the role and is full of vitality and likeability but ultimately seems somewhat miscast as this romantic lead. The other MVP of this production is Jonnie Broadbent as the fool, Touchstone. Early on, he is stripped of most of his clothes, left resembling a man-baby complete with bonnet, oversized pants and a lace bib. Broadbent rules the stage like a comic ringmaster. He has the audience in the palm of his hand and is a joy whenever he appears. However, once again, his romantic storyline runs too long and is in desperate need of tightening.

The play’s most famous line, ‘All the world's a stage, and all the men and women merely players’, may feel like a modest brag, but this production has a great deal to be proud of in its comic and heartfelt ambition. It falls just short of being as successful as I would have liked.

As You Like it plays at Shakespeare’s Globe until 25th October. Tickets from £7 at https://allthatdazzles.londontheatredirect.com/play/as-you-like-it-london-tickets

Photos by Marc Brenner