As You Like It: You Might Not Like It. A Review By Robin L Harvey

As You Like It by William Shakespeare: Review By Robin L Harvey

Anand Rajaram gave a remarkably frank and honest appraisal of casting his directorial debut, in Canadian Stage’s As You Like It, this year’s Dream in High Park and the first time since the pandemic that Shakespeare in the park has resumed “in-the-normal.” Rajaram said he purposefully cast from the worlds of Shakespeare, improv and comedy to create a mix he believes was “collectively learning together.”

However, people don’t pay to see lessons in progress. They pay for entertainment. By the time a show opens, collective learning should be over end and great performances should begin. This production still had many lessons to learn. Despite the beautiful venue and exemplary set, it hovered between the level of community theatre and the expectations for a professional show.

How did the production, continuing through September 4 th , land there? To start, the plot-launching Shakespearean “scenes at court” plodded and failed to set up the machinations and mockery to come. That’s a sure-fired formula for a confused and inattentive audience, exactly what the production got.

Next, the play’s pivotal roles, the canny Rosalind and the lovestruck Orlando, were played so flat and two-dimensional, they seemed overwhelmed by the imposing set. Bren Eastcott portrayed Rosalind on one note, a disconnected flat one. This did not create a spunky woman who’d defy tradition, pretend to be a man, and cozy up to her true love to become his confidante. She had no raunch, no faux masculinity. And she did not draw the audience in so its members cared whether or not her deception would win her the love she desired.

Paolo Santalucia’s Orlando was a stilted and wooden swain, when what was required to make him a catch for Rosalind was more subtlety, a hint of cunning and lots of lust. The audience had no fear he’d see through Rosalind’s deception and call her out. As a result, there seemed little point to Rosalind’s trickery and need to discover his true intentions. With such weak pivotal roles, the rest of the cast struggled to pick up the plot and the pace. They finally did in the Forest of Arden about two thirds of the way through after they’d launched their own romantic antics and assignations.

Some were disappointing, like Marty Adams as Silvius/Charles/William, some middling, like Astrid Atherly as cousin Celia, but a few were exceptional. This includes Ken Hall, a comedic actor not known as a Shakespearian staple, but whose work as Duke Frederick/ Duke Senior was among the best on stage. And Maja Ardal, a long-accomplished director, playwright and actor, cast contra-tradition and gender as Eve/The Bodhran Drum/Conch, was simply brilliant. So much so that after she delivered the play’s most-famous speech, “All the World’s a Stage” with elegance and gravitas, the sleepy audience woke up and burst into applause.

None of this is surprising, since director Rajaram has described his vision of the show as a “live cartoon.” No cartoon could tackle this play’s themes of sibling rivalry, infatuation and banishment. No cartoon could have the undercurrents and depth required for The Bard. However, Rajaram’s description of the play as a, “big pop-up book” was aptly realized in Shadowland Theatre’s production design. The colourful carnival-themed set dazzled against the real-life forest backdrop of the High Park Amphitheatre. Too bad this did not carry over into the cast’s quirky costumes, which may have been meant to resemble candy, freaky plants or carnival kitsch. Whichever, they surely made many of the actors look ridiculous.

As You Like It is often called Shakespeare’s silliest and most-plotless work, but it also has four songs, the most songs he ever included. That music was beefed up with new songs written by Serena Ryder, Kiran Ahluwalia, and Maryem Toller. The spellbinding music saved this production. Credit here largely goes to Belinda

Corpuz, the Toronto-based, Filipino-Canadian folk musician who was the show’s musical director and played Amiens/ Hymens. Corpuz is blessed with an infectious, rich voice that evokes joy. As she plucked her guitar strings, songs rang out across the evening air transporting the audience by show’s end far past many of its failings.

Without Corpuz’ musical mastery, As You Like It would have been likely most unlikeable. Director Rajaram is to be commended for having the guts to explore far beyond this play’s traditional interpretations. And for those who attended the 1,000-seat venue, propped up against uncomfortable rocks with blankets and pillows to ensure they could sit comfortably until the production end’s, the set, the stars and the wonderful music seemed to be enough.

Most looked happy to have had a few laughs and have heard some exquisite music under the stars after years when outdoors was a place to exercise and “stay safe.” Happy they got some fun at an affordable $30 a ticket, or an even cheaper pay-what-you-can rate. In this economy, that in itself may have been enough to make them grateful no matter the show’s failings. (The production viewed had Landon Doak performing as Touchstone.)

Robin Harvey (robinharvey@live.com) worked on staff for The Toronto Star for more than 20 years. There she wrote book and theatre reviews. She was a reporter, editor and columnist as well as a News Editor, Assistant City Editor and Public Editor. As Deputy Sunday Editor she was supervisor of the books page. For a time, she ran The Sunday Star short story contest. She's been published in Sun Media, The Toronto Sunday Sun, the Southam news chain and the National Post. Ms. Harvey studied journalism at Metropolitan University, Fine Arts at York University, and is a graduate of the Humber School for Writers.