By Mahonri Stewart
Utah Shakespeare Festival in Cedar City is presenting As You Like It as part of their lineup this year. The team behind the Utah Shakes is up to the task and show why they are one of the most enduring and celebrated theatrical traditions in Utah. William Shakespeare’s As You Like It is often an underestimated and unheralded script compared to many of his other comedies. Like many of Shakespeare’s other plays that feature female protagonists that dress up as men, much of the humor is dependent on the wealth of witty word play, gender commentary, mistaken identity, comic clowns, and sly subversions that the Bard so often provides for us. However, with As You Like It there is a different energy, pace, and build compared to, say, the no-less brilliant and oft more preferred Twelfth Night. Granted, As You Like It ambles more, has a softer climax, is more gentle in its delivery, and is less biting than many of Shakespeare’s comedies. It is less overt in much of its purpose and humor. Thus it takes a strong understanding of the script, and what it is trying to accomplish, to make a production of As You Like It shine in a way that the play truly deserves.
Of prime importance to the story is the cross-dressing Rosalind, and it takes a strong actress to fulfill the potential of one of Shakespeare’s most realized heroines. Cassandra Bissell capably fills the part and makes a striking, energetic, and memorable showing in “Ganymede’s” doublet and hose. Bissell (who also plays a strong Helena in the other USF show I saw, A Midsummer’s Night Dream) has a spontaneous style to her acting that makes her moments feel lived in, not recited. She has an expressive, resonant voice that has a lot of character and is a far cry from the boring, treacly falsetto that exists in many a debutante actress. I prefer actresses who have verve and vitality in their work and Bissell certainly qualifies. She expertly straddled the feminine and masculine that the role requires, all while playing the full gamut of humor, drama, and romance that makes Rosalind such a rich and fun role to play; certainly, a worthy showing from a true professional.
I was surprised to see Rosalind’s cousin Celia played by a more mature actress (Susanna Florence) than is typical to the role, a decision it took me a little time to become accustomed to (Florence also plays Queen Elizabeth in USF’s production of Shakespeare in Love, to give a little context.) Yet Florence’s expertise in the role won me over soon enough. Florence’s Celia is played as more of a self-appointed guardian over Rosalind, which creates a unique dynamic to the cousins, and an interesting history to their friendship. Even though Celia is referred to as a young maid in the script, it’s a minor quibble when a production is able to land such a skilled actress in the role.
Orlando—Rosalind’s clueless (at least in this version), but noble love—is played ably as a straightforward gentleman by Jeb Burris. I like Burris’ kindly and romantic take on the character. Burris makes one believe why a smart, capable character like Rosalind falls in love with him and adds significantly to the nice chemistry built between the two characters.
John G. Preston does double duty as the Dukes Frederick Senior/Frederick, playing the dichotomy of the two brothers very nicely.
We get a special treat to see USF founder Fred C. Adams in the role of Orlando’s loyal servant Adam. Adams has some truly moving moments in the play as his unswerving loyalty to his new, worthier employer is put to the test. Neither the character, nor Adams’ affecting portrayal, is found wanting. Adams truly shows himself to be truly a worthy patriarch of the Festival.
As You Like It has some really fun minor characters and I am pleased to see such a nimble supporting cast add so much dimension to what are often played by lesser actors as throwaway roles. I have a lot of affection for minor roles like Corin the Shepherd (Jack Lafferty), Charles the Wrestler (Taylor Harris), La Beau the Courtier (John Harrel), and William the Country Fellow (Michael Manocchio), so I am really delighted to see the actors bring such nuance and affectionate characterization to their roles. Shakespeare often gives surprising complexity and realization to minor roles, so these worthy actors do the great playwright great service in honoring these minor gems.
Among an already strong cast, I took particular note of some marvelous performances from Geoffrey Kent as Oliver (the best and most nuanced performance I’ve ever seen anyone give that role—Kent is also in Treasure Island); Jonathan Haugen as Touchstone (such a restrained, yet hilarious take on the character, which is often played with more bluster, but less skill—again, also in Island); Kelly Rogers as Phebe (I loved her take on why she chooses Touchstone over William); Kelly Rogers as Phebe (the most complex, charismatic, and energetic Phebe I’ve seen); and Eric Schabla as Sylvius (a truly entertaining, and yet also affecting performance.) Oh my goodness, what a wonderful cast all across the board!
However, even among these many dazzling turns of character, it is Michael Elich’s performance (also in Island) as Jacques that is going to leave the most lasting impression on me. Jacques is one of my favorite Shakespearean characters, which makes it all the more disappointing for me whenever he is played as a one-note cynic or a glib, mopey dope. Behind Jacques’ sharp, witty exterior of cynicism is a deeply sincere and beautiful search for meaning in the face of an increasingly terrible world. Whether it is how Jacques mourns the death of a deer; his observations that these Robin Hood-like exiles usurp Nature’s authority as much as Duke Ferdinand’s authority was usurped; or his abandonment of the pleasures of a wedding party, as well as their “dancing measures,” to seek out a religious hermit and continue to seek for a more spiritual life; Jacques proves himself a sincere Seeker, a man after the truth, even when that truth is as elusive as the deer darting throughout the Forest of Arden. Elich brings even more depth to an already complex role with some very specific character choices throughout the play. One particular choice gives pathos and motivation to the character’s search for meaning that I had never before considered. At punctuated moments throughout the play, Elich has Jacques display signs of a nervous condition that causes his hand to shake, indicating that perhaps he’s not long for this earth. This simple, but revolutionary view—that Jacques’ search is motivated by his race against Time and Death—gives powerful new meaning to Jacques’ last lines in his famous “All the World’s a Stage” speech: “Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.”
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My mind was blown. Whether that was a choice made by Elich, or a directorial decision by Robynn Rodriguez, I have mad respect for the mind that came up with it. The part has been played very ably by many wonderful actors, including the likes of no less than the magnificent Kevin Kline, and yet this is the most powerful version of the character that I have yet seen.
Great credit has to be given to the artistic staff of the show. Lauren T. Roark’s costumes are a vision, especially Rosalind’s/Ganymede’s gorgeous blue and white doublet and the stunning wedding dresses at the end of the play. Scott Davis’s scenic design is simple and elegant, and there are a couple of breathtaking moments when the Duke’s court is transformed into the Forest of Arden, or when flower petals rain upon the final marriage. Fight choreographer’s Kent’s wrestling scene was delightfully managed. The music throughout was particularly evocative, both toward joy and poignancy, while the musicians were both energetic and skilled.
Finally, director Rodriguez was obviously a powerful guiding light in the production, as full as the beautifully wrought moon that shone over the set in a particularly gorgeous moment of the show. Her vision of a gentle, Pastoral comedy, lined with beauty and heartbreak, made for a truly beautiful vision of one of my favorite Shakespearean comedies.
Utah Shakespeare Festival has created a lovely piece with As You Like It. I brought my son with me and we both thoroughly enjoyed it. You will, too.
Utah Shakespeare Festival presents As You Like It by William Shakespeare
Engelstad Shakespeare Theatre, 200 W College Ave, Cedar City, UT 84720
July 1-September 9 8:00 PM, with no matinee showings
Tickets: $20-60
Please visit www.bard.org for ticket availability, show dates, and times.
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