“Innovative and clever. This ‘As You Like It’ takes necessary risks in the theatre. We need more of this.”

"As You Like It," now on stage at the Grand Theatre in London, Ontario, takes a bold approach that may not please some academic purists. A significant amount of text has been cut. Set in the Okanagan Valley in the 1960s, the production features themes of peace and love, with characters dressed as bell-bottomed flower children. Will these creative choices upset those who prefer their Shakespeare untouched?

Lighten up, will ya?

Director and adaptor Daryl Cloran makes a brave and clever choice that enhances the production. He understands the importance of connecting Shakespeare to a twenty-first-century audience, including young people and first-time viewers. To achieve this, Cloran has integrated some iconic Beatles songs into the storyline, wisely choosing to excise certain passages of the text.

A prudent choice as it works for me. Hopefully, it will never get to the point where young audiences may have to ask who the Beatles are.

‘As You Like It’ centers on two main love stories, with this theme extending to supporting characters. Cloran loves the Beatles’ music. Why not combine the two, as they truly make a perfect match?

There are two cousins: Celia (Naomi Ngebulana) and Rosalind (Daniela Fernandez). Celia eventually develops feelings for Oliver (played by Matthew MacDonald-Bain). Celia’s cousin Rosalind has been banished from the court and disguises herself as a male servant named Ganymede. She escapes into the forest, where she encounters various colourful characters and inhabitants. In true Shakespearean comedic fashion, mistaken identities are common throughout the story. Additionally, the plot features subplots centered around the theme of love.

It is in the forest where Rosalind meets her true love, Orlando (Jeff Irving), and she puts his loyalty to the test.

The audience is invited into the house earlier to watch the pre-show action, and I strongly encourage future audiences to leave themselves enough time to do that.

The pre-show takes place in a wrestling ring, where the audience observes various cast members in different roles. For instance, Jan Alexandra Smith portrays Le Beau, the wrestling referee. The atmosphere is loud and energetic, and this infectious excitement spills over into the audience. It suddenly becomes clear to me why the wrestling ring is a fitting choice for the pre-show.

Wrestling has been a money-making art for years. The noise level at a match is deafening. When the story shifts to the forest, it becomes calming and is far removed from the raucous crowds.

Pam Johnson skillfully designs a set that functions exceptionally well, keeping practicality in mind. Hina Nishioka’s striking lighting design for the wrestling ring transforms the space, transporting the audience to an idyllic forest atmosphere. Carmen Alatorre’s costumes beautifully evoke a flowery, pastel-coloured past, suitable for both men and women. Under the late Peter McBoyle’s original sound design, Owen Hutchinson ensures that dialogue and song lyrics are clearly audible throughout the auditorium.

Music Director Ben Elliott carefully ensures that the lyrics complement the scene's tension and significance. The five-piece band sounds terrific. There were a couple of moments when they overpowered the singers for a few moments, but that was quickly rectified.

Two standout vocal moments are "Let It Be" and "The Fool on the Hill," which are delightful to hear. Elliott also takes the stage during the opening night performance, portraying Silvius, a humorous forest pot-head dweller, and he is sound in the role. Jonathan Hawley Purvis effectively captures the iconic dance moves of the sixties.

Daryl Cloran purposefully directs the production with a clear vision, plus he’s also poking fun at the script since: “Shakespeare tells actors to do that.” (You’ll get that reference when you see the show)

The individual performances in this solid acting ensemble are impressive. Jeff Irving’s Orlando remains a handsome and genuinely good guy who truly falls in love. His impressive dance moves, staged by Hawley Purvis, stand out. Daniela Fernandez is delightful as Rosalind, bringing sweetness and charm to the role. Furthermore, Fernandez ensures that her character remains assertive, making her even more endearing to Irving’s Orlando.

Naomi Ngebulana’s Celia is more subdued compared to her cousin Rosalind. However, Ngebulana does not present her silence as a negative trait. Instead, her Celia listens attentively, whether to Rosalind or to everything happening around her. This genuine ability to listen to others is what draws Matthew Macdonald-Bain’s Oliver to fall in love with her.

Leon Willey’s Touchstone almost steals the show. Although he doesn't quite manage to do so, he comes very close. Willey’s impeccable sense of comic timing adds just the right amount of humour to maintain a lively pace. His interactions with the forest inhabitant Audrey (Jenny McKillop) are risqué but remain within appropriate boundaries. Jan Alexandra Smith delivers a wise and knowledgeable performance as Jaques. with the soliloquy "All the world's a stage" memorable.

A Final Thought:
Adapting some of the Bard’s works does not always go over well with academic purists. I know of several high school educators who prefer their Shakespeare unaltered, without any cuts, additives, or preservatives to the text.

It’s time to move forward.

In her programme welcome note, newly appointed Artistic Director Rachel Peake says that she spends a lot of time thinking about adaptation in general and of Shakespeare in particular.

She should be doing that, as all language teachers should. I was all for that when I taught many years ago. Otherwise, there’s always been talk about removing Shakespeare from the high school curriculum if it’s no longer relevant to young people in the twenty-first century.

As for this ‘As You Like It?’

I did.

Go and see it.
Running time: approximately two hours and thirty minutes with one interval/intermission.

‘As You Like It’ runs until November 2 on the Spriet Stage at London’s Grand Theatre, 471 Richmond Street. For tickets: (519) 672-8800 or visit grandtheatre.com.

‘As You Like It’ by William Shakespeare
Conceived by Daryl Cloran & Bard on the Beach Shakespeare Festival
Adaptor/Director: Daryl Cloran
Music Director/Supervisor: Ben Elliott
Choreographer/Fight Director: Jonathan Hawley Purvis
Set Designer: Pam Johnson
Costume Designer: Carmen Alatorre
Lighting Designer: Hina Nishioka
Original Sound Designer: Peter McBoyle
Sound Designer: Owen Hutchinson
Stage Manager: Christine Leroux
Creative Consultant: Rick Boynton

Performers: Henry Beasley, Tyler Check, Nadien Chu, Jennifer Copping, Daniela Fernandez, Jeff Irving, Alexandra Lainfiesta, Ben Elliott, Anton Lipovetsky, Jenny McKillop, June Mirochnick, Naomi Ngebulana, Troy O’Donnell, Jan Alexandra Smith, Isaiah Terrell-Dobbs, Leon Willey, Jacob Woike.