All the World’s a Stage

As You Like It

Shakespeare’s sweet, pastoral comedy, thought to have been written around 1599, is one of his more frequently performed of his plays and an audience favorite among professional, regional and educational theaters, alike. It boasts a large cast of memorable characters, all of whom spend most of their time roaming through the forest and farming community and pining for love. The story has even been adapted for radio, film and the musical stage. 

At Writers Theatre, there’s a breathtaking new musical production of AS YOU LIKE IT, cleverly adapted by two-time Tony Award-winner, Shaina Taub (SUFFS on Broadway) and Laurie Woolery, with music and lyrics that are based upon the Shakespearean text, also by Shaina Taub. The production is a pleasing respite from all the chaos that fills our daily lives nowadays, and serves as a relaxing, comic and musical holiday in the Forest of Arden, continually reminding us that All the World is a Stage.  

The reversals of gender in this play have always intrigued critics and scholars. In Shakespeare’s time, Rosalind would’ve been played by a young male. As the story unfolds, the character disguises herself as a man named Ganymede. However, in several scenes, she pretends to be Rosalind so that Orlando, a charismatic youth smitten with the young woman, can rehearse romancing her. So we have a man playing a woman playing a man who’s pretending to be a woman. It sounds a little confusing and highly unlikely, but then Blake Edwards’ popular musical, VICTOR/VICTORIA featured the same basic plot.

The comedy in this play comes from a series of plot lines that involve a variety of characters. Duke Frederick, a power-hungry tyrant, has taken over the town and exiled his kind, benevolent brother, Duke Senior, to the Forest of Arden. Frederick has reluctantly allowed his niece Rosalind, the banished Duke’s daughter, to remain at court because she and his daughter, Celia, are inseparable. However, Frederick’s paranoia imagines some conspiracy at work, so he suddenly decides to banish Rosalind, as well.

Given little alternative, Rosalind chooses to flee from her uncle’s death threat, taking along Celia, her cousin and best friend. They head to the Forest of Arden; but, to play it safe, the ladies decide to disguise themselves. Rosalind butches it up in male drag, calling herself Ganymede; Celia chooses to dress as a poor young woman named Aliena. For extra protection, the two ladies also bring along Touchstone, Frederick’s witty and comic court clown. Together the three refugees head into the woods, in search of food and shelter.

Rosalind, Celia and Touchstone meet Mama and Papa Corin (well-played by Janet Ulrich Brooks & Torrey Hanson), a poor shepherding couple, who lend their help. Coincidentally, Orlando, another young person in Frederick’s court, also finds himself in the Forest of Arden. He and Rosalind had met earlier, back at the court, and immediately fell in love. But Orlando had a fallout with his jealous, older brother, Oliver (gruffly played by Anand Nagraj), who’s now under the thumb of Duke Frederick. To escape his brother’s unwarranted anger, Orlando takes his elderly servant, Adam (also nicely played by Torrey Hanson), and also flees to the Forest of Arden. There he’s reunited with the exiled Duke Senior, the Duke’s melancholy traveling companion, Jacques (the versatile and artistically accomplished Matthew Yee), and a few other friends.

When Rosalind (now disguised as Ganymede) runs into Orlando in the forest, she finds him posting love poems on the trees. She pretends to counsel him in his love for Rosalind. In order to school the young man in how to properly woo and win his lady love, Ganymede, ironically, pretends to be Rosalind, so that Orlando can practice on him. While playing Rosalind, young, cynical shepherdess Phoebe (the always impressive and ingenious Dakota Hughes), who’s adored by a farmer named Silvia (accomplished actor/singer Grace Steckler), spies Ganymede and immediately falls madly in love with him. To complicate the plot even more, we discover another shepherd named William (the capable Elliott Esquivel), who adores a country boy named Andy (an always adept Jeff Rodriguez); but Andy runs into Touchstone and becomes smitten by him. Through all these complications and plot twists, Shakespeare manages to contrive a happily-ever-after ending that brings joy to everyone.

Unlike the original lengthy Shakespearean romantic comedy (because the Bard wanted to provide a full afternoon’s entertainment for Elizabethan audiences and to give them their money’s worth), this new musical is considerably shorter. The pleasant two-hour production, including an intermission, is the perfect length for most audiences. Directed by Braden Abraham with much affection, enthusiasm and inventiveness, the story—which appears to be set in Chicago during the 1920’s—begins in a dingy, stiffling speakeasy; but then, once in the Forest of Arden, the setting flows freely out toward the audience, beneath the tree branches and under a sunny sky. The accomplished Musical Direction of the folk-pop score is courtesy of the always impressive Michael Mahler; and the show’s spirited Choreography is provided by Erin Kilmurray. 

Co-Scenic Designers Sara Ryung Clement & Jacelyn Stewart have fashioned a gorgeous environ for the sixteen actors telling their stories. Lighted by Co-Designers Eric Southern & Daphne Agosin, the atmosphere features both a dark and smoky bar, contrasted in the next scenes with the fresh air and open-flowing Forest of Arden. Great credit must be heaped upon Costume Designer Raquel Adorno for her excellent period wardrobe and, especially, the creamy neutral tones and textures in the wedding scene.

The entire cast is brilliant and feel like a group of old friends with whom theatergoers would love to share a drink. Beginning at the top, Paul Oakley Stovall (seen on Broadway in A STRANGE LOOP, and as George Washington in the National Tour of HAMILTON) is sheer perfection as the kindly Duke Senior. He’s warm, gentle and paternal, yet still delightfully droll, especially with Jacques. He earns the audience’s sympathy the way his bullying brother, Duke Frederick, treats him and his followers. The villainous Duke is played with venom by Scott Aiello (A VIEW FROM THE BRIDGE, Shattered Globe; RICHARD III, Chicago Shakespeare Theatre). 

As Rosalind, lovely and exquisitely gifted actress, Phoebe Gonzalez (seen at Writers, Chicago Shakespeare, Steppenwolf, and many others) is the charming and eloquent nucleus of this delightful love story. She shares this onus with her paramour, the handsome and talented Benjamin Mathew (Pippin in LORD OF THE RINGS at Chicago Shakespeare Theatre). The main plot revolves around these two extraordinary actors, who keep things rocking and rolling. Andrea San Miguel is both passionate and well-spoken in her portrayal of Celia. Always a treat in every show in which he appears, Jackson Evans (FALSETTOS with Court/TimeLine; TITANIQUE with Porchlight/Broadway in Chicago) is wonderfully whimsical as Touchstone. And the versatile and artistically accomplished Matthew Yee stands out as the melancholy Jacques, and also as lead singer/musician of the onstage band.

Theatergoers new to one of Shakespeare’s most popular comedies will find Shaina Taub and Laurie Woolery’s musical adaption enjoyable and easy to understand. Audiences already familiar with the Bard’s work will rejoice in this new exploration of the play. The same characters, story and themes are all there for everyone to enjoy. The corrupt city versus the idyllic country, the folly of human behavior and love in its various forms all play out beneath the foliage of the Forest of Arden. It’s there we observe, indeed, that All the World is a Stage.

Highly Recommended

Reviewed by Colin Douglas

Presented October 30-December 14 by Writers Theatre, 325 Tudor Court, Glencoe, IL.

Tickets are available in person at the box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.