Simple, lighthearted and witty are three words that come to mind after seeing the Shakespeare Tavern’s latest production of As You Like It, the seminal comedy about the love affairs that occur in the rustic Forest of Arden after nobles Orlando and Rosalind are exiled by Rosalind’s tyrannical uncle. The production runs through May 28.
Director Laura Cole has staged an enjoyable production with her most notable achievement being the clearly defined relationships and straightforward storytelling. She is not overly concerned with forcing comedic beats out of the script, preferring to let most of them come naturally — though there are a couple of jokes that feel like a stretch. Overall, there is a simplicity to her direction that gives the play the room it needs to breathe and, as such, brings out the inherent charm in the piece.
Gracie Wallace and Kenneth Wigley are a perfect match as Rosalind and Orlando, one of Shakespeare’s mooniest, most doe-eyed couples. Both actors captured the most endearing qualities of their characters, making for a charming romance. While Wigley’s performance is more subtle, Wallace is considerably more energetic, which creates a nice balance carried throughout the show. She doesn’t lean as hard into the comedic potential in her Ganymede scenes, however.
Wallace also has dynamic chemistry with Tyra Watkins, who plays Rosalind’s cousin and best friend, Celia. Their scenes give off a bubbliness that is quite infectious and entertaining to watch. Watkins does have something of a rote quality to some of her line deliveries, but she makes up for it with strong comedic timing and a deadpan sense of humor.
Mary Ruth Ralston is an intriguing Jaques, making the character more of a bleeding heart who can’t stop from crying at the melancholy of the world, rather than the more traditional portrayal of a wry and pessimistic bystander. This choice does lend empathy to the famous “All the world’s a stage” monologue, in which Ralston is eventually reduced to tears at the thought of man’s decline into old age.
Ralston also provides the fight choreography, which mostly comes into play for the wrestling scene between Kenneth Wrigley and Vinnie Mascola. Most of the fight is fairly by the numbers, finding small opportunities for comedy throughout, though there is a fairly impressive tumble toward the end that elicited a verbal response from the crowd.
The rest of the players are amusing in their own ways. Adam King makes for a gleefully sardonic Touchstone; Daryel T. Monson is endearingly naive as Silvius; Kirsten Chervenak plays Phebe as more playful and dimwitted than intentionally scornful; and Kati Grace Kirby excels in her dual role as Duke Frederick, Celia’s spiteful father and the exiled former Duke.
The production also makes strong use of the music in the script. Music director and composer Rivka Levin plays with a classical Renaissance sound for most of the show, employing rich harmonies and jaunty melodies. The cast is made up of strong singers who are mostly able to make the music soar, though they did struggle on occasion with some of the rounds.
Since the Shakespeare Tavern famously uses the same set for all of its shows, little can be done in terms of scenic design or set dressing to delineate the Forest of Arden from the more stately court scenes. Instead, lighting designer Greg Hanthorn Jr. uses the lights to provide a rustic atmosphere by using green gels to give the impression of sunlight peeking through the trees. The effect is simple but effective and shifts the tone of each scene just enough to add to the already committed performances.
My only complaint with this production would be that it doesn’t take many risks. However, the choices it does make are largely successful. Cole’s uncomplicated sensibility combines harmoniously with the cast’s natural chemistry and affable performances to create a free and easy mood. The end result is a pleasant, cheerful romp through one of Shakespeare’s sweetest comedies.
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Luke Evans is an Atlanta-based writer, critic and dramaturg. He covers theater for ArtsATL and Broadway World Atlanta and has worked with theaters such as the Alliance, Actor’s Express, Out Front Theatre and Woodstock Arts. He’s a graduate of Oglethorpe University, where he earned his bachelor’s degree, and the University of Houston, where he earned his master’s.
