As You Like It
Directed by Maria Aberg
Directed by Maria Aberg
Royal Shakespeare
Theatre
Until 28th September
Reviewed on the 18th
April 2013 by Luke Taylor age 18Until 28th September
From the tragedy-esque
beginning that leaves the audience on the edge of their seat to the perfect
party ending, As You Like It fires on all cylinders. This capricious court
features a monotonous heartbeat thumping as the gallant Orlando finds himself successfully
beating the wrestler Charles. In comparison to the idyllic forest of Arden where
liberation occurs as they ‘fleet the time carelessly’, and through all of this Aberg’s
directing is unmistakably successful. Her interpretation of the capricious court in
which Rosalind and Celia find themselves creates unnerving tension as the stage
lights create an emphatic effect. This effect is used throughout the court
scenes and creates an unnerving aura, making the audience relate to the
protagonist’s want to escape Duke Fredrick’s despot. Heroine Rosalind is then
banished by Duke Fredrick but not before she has stolen Orlando’s heart in what
the audience determines as love at first sight. Rosalind and Celia then go in
disguises of Ganymede and Aliena, apt names for the sexual antics that take
place in forest. Love struck Orlando then follows suit after agreeing to take
perennial servant Adam along with him. It is at this point that the stage is
transformed from the repressive court to the magical, idyllic forest of Arden,
where characters experience liberation.
The staging really is very impressive
as the audience find themselves in a hippy camp where characters in essence
compete against nature for survival. Celia from here on in takes much more of a
back seat which is a shame as her quirky nature evokes much laughter. Orlando
and Rosalind are then reunited, however with Rosalind dressed as Ganymede,
which results in Rosalind being able to test her lover through wit, wordplay
and repartee. Through this relationship both characters explore sexuality with
continuous support from the clown Touchstone, much to the amusement of the
audience. We are then introduced to
varying amounts of mis fit characters that each experience their own trials in
the forest. The play, with out spoiling too much, ends, as is typical of a
comedy endings, happily.
A special mention must be made to the director
of the music Laura Marling. While the set design is incredible, it is
complemented by the songs, which heavily feature the play. Other productions that I have watched have
interrupted the songs in a very rustic way with a single acoustic guitar and a
sombre voice. Marling completely reinvents this tradition by having a full
folk-like band performing songs, which the audience can’t help but join in
with. Marling’s melodies instil this
idyllic view of the forest and further this feel good vibe that makes the play
so enjoyable.
To conclude if you
would like an easy watch, where your not afraid to laugh at the numerous sexual
innuendos, that ends on an uplifting, happy note I couldn’t recommend a better
play. Aberg has done an excellent interpretation of a play that has the
potential to be quite repetitive and therefore deserves to be extolled.
