As You Like It | ThunderBear Productions
A classic Shakespearian comedy, As You Like It is a drama that throws a big stick in the spokes of gender norms, what with a cast of characters that wander off the path on ill-conceived adventures, that fall in love quicker than you or I can drink a luke-warm latte, and are inclined to cross-dress without so much as a by-your-leave. It’s quite satisfying then, to see this contemporary staging heavily weighted with women, when once it would have been entirely performed by men.
I find myself in a chattering crowd of theatre-lovers, perusing a bare-bones set and stage in an average Queenslander back yard. The commonality of it in fact suits Shakespeare, which was always intended as entertainment for the braying masses, rather than the exclusive theatres. There was a patio that met the grass, and an upstairs that leaned over it. I felt that the yard was not as heavily featured as I thought it might be, the trees (complete with scrambling possums!) were there as pretty furnishings, but not highlighted as much as I had anticipated.
The cast were dressed in a range of fashions, seemingly at odds with each other, like any good backyard house party I guess. Likewise a range of acting experience, alongside differing levels of projection. What they had in commonality though, was a joy in Shakespeare, and a full-bodied commitment to translating those old texts for a modern audience.
Great physical performances gave nuance to the text. Clearly great time was spent making sure that the meaning was wrung from the verse and given life on the grassy stage. I enjoyed many scenes, as did the audience that laughed loudly and regularly. Celia (Leah Fitzgerald) was the perfect sassy companion, especially as an exasperated Aliena dealing with the craziness of her swooning cousin, played by the indomitable Crystal Arons. Crystal in her guise as Rosalind/Ganymede and Niamh Cadoo-Dagley as Orlando portrayed their budding relationship with a gentle and charming authenticity.
I really enjoyed watching as the supporting cast did wonders putting characters on-and-off like hats, an imperious Duke Frederick becoming a randy Phoebe (Janaki Gerard), Mikala Crawley and Milan Bjelajac providing comic relief at every turn, and Leah Mustard was wonderful, particularly in a masterful representation of Le Beau. We saw a startling transformation in Taylor Stuart from a hunchback Adam to a laissez-faire Audrey.
Touchstone (George Harrison) was played larger than life as the witty fool, leaning hard into the comedic elements of the character, but leaving me searching for the loyalty of the philosopher fool that I usually think of from that character. The juxtaposition against the melancholy Jaques (Colin Smith) was as night and day, up to and including the very clown-esque costume of one and the supremely backyard attire of the other. It was an unusually understated Jacques, with those seminal speeches presented almost conversationally, and that was actually refreshing; too many actors take the opportunity to become overwrought when given a run at a classic.
The play was done in a fun manner, highlighting the ludicrous and comedic aspects of Shakespeare and putting less weight on the moral battles. Kudos to the cast for achieving a full-length Shakespearian drama - not a small task by any means! The enthusiasm for the production was painted all over it.
