As You Like It – Shakespeare’s Globe, London

Writer: William Shakespeare

Director: Ellen McDougall

Splitting opinions for centuries, some may see As You Like It as smartly packaged romantic adventure cum provocative social commentary while others see a plain and rambling piece with little dramatic tension and lacklustre comedy, though with some undeniably creative wordplay.

The Globe’s new version, directed by Ellen McDougall, doesn’t advance the cause of either view. Smart casting highlights the gender roles and power imbalances portrayed, but there’s never really a moment where it lifts off and feels fully alive.

The story circles around Orlando, younger son of a dead rich gentleman, and Rosalind, daughter of the exiled Duke Senior. After meeting fleetingly and falling in love, both Orlando and Rosalind are forced away from their homes and seek refuge in the Forest of Arden (where the banished Duke now lives). Rosalind adopts a disguise (the life of a young man is easier than that of a young woman alone), and it’s in this role of Ganymede she meets Orlando again and builds a relationship with him. Alongside this are various other love matches and diversions as the Duke’s court and its members interact with other forest dwellers and travellers before one of Shakespeare’s more rushed and unsatisfying happy endings.

The dearth of real action in this play means a reliance on other tools of storytelling like interaction between the characters. But here, it all feels too polite. We see little of the natural and relaxed nature of communication that comes from comfort with the other character (even an enemy). Lines are delivered well, jokes land and character arcs are followed, but all a little mutely. They talk to each other, not with each other. It occasionally slips into passages of sparky wordplay and synergy as when Ganymede convinces Orlando to woo him in place of Rosalind. As Rosalind, in fact, Nina Bowers is responsible for much of the production’s energy and attractiveness. She adds entertaining bawdiness with a beautifully judged selection of outright flirtatiousness and more subtle winks and nods.

Genders and relationships are mixed around here in a wholesome and joyful way, with casting choices adding to Shakespeare’s own playfulness and more pointed observations on gender roles included in the play. As the brothers Oliver and Orlando, Jessica Murrain and Isabel Adomakoh Young have moments of real power, and Macy-Jacob Seelochan as Celia turns in a fine and entertaining performance. Even taken by itself the casting choice ably conveys this production’s message of openness and celebration about who you love, be that a romantic partner, a family member or friend.

Added to the production is a selection of musical breaks, with songs and choreography mostly led by the court of the exiled Duke. The easiness and free-spiritedness of the exiled Duke’s forest court that would lead to these songs feels put on, as if these courtiers would rather be back in their world of power and plenty (not to mention within walls and under roofs) rather than have to make do and make merry under the tree canopy. This feeling is reinforced by a vibe of enforced jollity in the musical interludes. The singing rarely adds anything of substance. They nail it at times, like with a version of (what seems like) Tegan and Sara’s Closer which is led charismatically by Jessica Alade, but generally, the action stops when the singing begins then just carries on after. They’re injected rather than incorporated into the work.

Bolstering the action is the fabulous costume design from Max Johns. The designs reflect perfectly the monochrome, staid world of the Court as well as the explosion of freedom and potential once the characters leave their regular lives and enter the forest. They provide constant vibrancy in a play that, while entertaining and warmly inclusive, feels mostly flat between a handful of exciting peaks.

Runs until 28 October 2023