As You Like It (Independent Shakespeare Company’s 2024 Production) Theatre Review

production photo by Grettel Cortes

“A fool, a fool, I met a fool i’ th’ forest,” Jacques exclaims with such joy and delight after having met Touchstone. And we in the audience completely understand that joy, for it’s what we feel during the entire performance of the Independent Shakespeare Company’s new production of As You Like It, directed by David Melville, who also plays Touchstone. This is one of the most enjoyable productions I’ve seen, from beginning to end. Actually, from even before the beginning, for if you arrive an hour or so early, you’ll have a chance to meet some of the characters before the play begins. And you might find yourselves exclaiming, “A company, a company, I met a theater company i’ th’ park.”

While usually the Independent Shakespeare Company performs two plays in Griffith Park each summer, this season just one is being presented. That is because, while construction is planned for a permanent stage in their regular spot, the company is performing in that smaller area farther up the hill. The play is performed in the round, the first time (at least as far as I can recall) this company had done so. One thing it accomplishes is freeing up a lot of space on the facing hill (what in previous years was part of the playing space) for the audience, allowing for a larger group to attend each performance. It also helps immerse the audience in the performance, for all entrances and exits are made through the crowd. Essentially it still is part of the playing space. The main section of the stage is a platform that spans the rock area, and which at the beginning is set up as a wrestling ring. There is another, smaller platform that functions as a bridge, basically over what had been Caliban’s home in ISC’s 2021 production of The Tempest. Audience members arriving in that area might also notice love notes attached to the branches of a tree. And, yes, if you get close enough, you can read them. Small chandeliers hang from other trees, and all of this helps establish for the audience that they are within the playing space.

Approximately an hour before the play starts, the fun begins, as characters begin mingling with those in the crowd. Duke Frederick (Pierre Adeli) speaks from the bridge to tell us citizens that the streets are safe again. “Under this administration, law and order have been restored,” he says. But the suit he wears puts us in mind of 1930s gangsters, so we don’t necessarily trust him. However, he is there to welcome us to the grand opening event of the wrestling plaza. And soon David Melville introduces Charles (William Elsman), saying that the masked wrestler is accepting challengers from the audience. All of this is hilarious, but it also gives us an idea of Charles as the champion that Orlando will be facing in the play, and also a clue as to how Charles might be defeated (again, get there early!).

Interestingly, as the play begins, the first person Orlando (Jack Lancaster) faces in the ring is his brother Oliver (Brent Charles) as the two argue. And being in the ring, Orlando does use a wrestling move on him, which gives the audience the sense that, yes, perhaps he can defeat Charles. William Elsman is hilarious as Charles, the wrestler taking on an over-the-top cocky stage persona which is perfect for the ring. What is particularly funny is that his voice completely changes whenever he removes the mask, as he momentarily drops his stage persona. While masked, he clearly feels he owns the space, even scolding audience members who have dared put blankets down where he aims to walk.

From the moment Rosalind (Jacqueline Misaye) and Celia (Bukola Ogunmola) enter, it is clear that they are close and are a pair to be reckoned with. We also see their differences. Both carry parasols, but Rosalind’s is open, while Celia’s is still closed. What’s particularly interesting about that is the open parasol has a more feminine flair, but it is Rosalind who will soon be donning male attire. Celia uses her closed parasol to spank Touchstone. This production has a lot of physical humor, which perhaps should come as no surprise, considering the play has a wrestling scene. Celia then opens her parasol when Madame Le Beau (Daisy Tichenor) enters. Le Beau, by the way, is particularly funny as she gets excited when speaking of broken ribs. In the text, the character is male, but changing the gender adds more humor to that speech and others. And besides, Daisy Tichenor is excellent in the role. Celia is great when stepping between her father and Rosalind and speaking in her defense. And I love Rosalind’s somewhat disgusted reaction to Celia’s idea of dressing in “poor and mean attire.” These two actors are a delight to watch, even when they are not speaking, for within their expressions is a lot of the production’s humor and joy. When they enter in their disguises, Rosalind is carrying a suitcase, while Touchstone is carrying Celia on his back, making Celia’s line about being able to go no further particularly funny.

While it is the friendship and love between cousins Rosalind and Celia that is at the heart of this production, the relationship of Rosalind and Orlando is central to the plot. And the two are adorable from their first meeting. He is the first to become speechless, and while he chastises himself for it, Rosalind says, “He calls us back.” It’s a wonderful moment, as she creates an excuse to return to him, for he did not call her back. And while then the two become speechless together (again, completely adorable), we get the sense that she will be the one who will take charge and be the creative force of their relationship. And so she does under the guise of Ganymede. By the way, she is magnificent when pretending to be a man. In addition the physical aspects of it, she clearly finds adopting the male persona to be freeing, to an extent that surprises and perhaps troubles Celia. It also surprises herself, but she seems cheered by this surprise. It feels like Ganymede might be a more natural side of herself. She seems more in the moment, and more capable of quick thought and action as Ganymede. And in some ways she is a more attractive personality as Ganymede. There is a great and telling moment late in the play when Orlando declares his love to her with more sincerity than before, and Rosalind, as Ganymede, asks who is it he is speaking to. We wonder if she in fact hopes that Orlando has fallen for Ganymede rather than for her Rosalind identity, for she has so taken to the role. And it seems Orlando might in fact confess such a love, for there is a brief pause before he catches himself and says, “To her that is not here.”

When Duke Senior, the banished duke, first appears, it is upon the bridge where first we saw Duke Frederick during those announcements before the show, a particularly nice touch as it is the same actor playing both parts. As Duke Senior, his demeanor is the very opposite of that of his brother, which again strikes us as even funnier when both characters are performed by the same actor. There is a brief musical interlude after that scene, giving Pierre Adeli the time needed to change back to Duke Frederick. Independent Shakespeare Company often does a great job of incorporating music into its productions, even beyond what is in the texts, perhaps most notably in last year’s disco version of A Midsummer Night’s Dream. Music becomes an important part of this production of As You Like It, the company making the most of the songs within the text, such as Jacques’ “ducdame, ducdame, ducdame” song, and adding to them. One of the funniest of all the musical moments in the performance is when Celia decides, regarding her new pastoral setting, “I like this place/And willingly could waste my time in it.” She then, alone on the stage, delivers a song in which she affirms that she is a country girl now. The other hilarious musical moment is when Audrey (Daisy Tichenor) sings of cleaning goat poo. Neither number is Shakespeare’s; both were written by David Melville.

Anyone who has attended an Independent Shakespeare Company production is well aware of David Melville’s knack for comedy. He does a fantastic job as Touchstone, the clown character of the play. When Touchstone is recalling an earlier love, he locates Jane Smile within the audience, sitting down next to her and addressing her directly, much to her surprise. And the scene of Touchstone and Corin (Daniel DeYoung) discussing country life is wonderful. But his best moments are with Audrey. Audrey is able to match his mastery of comedy, and her reactions as she watches Touchstone threaten William (Brian Tran) are delightful. Their moment toward the end is extended, and in it we learn that Audrey is a bit of a drinker. And as they resume their playful animal imitations, and then make good use of someone’s blanket, it occurs to us that theirs is perhaps the best relationship of the four sets of lovers. Or at least the most fun, while it lasts.

Another actor who really thrives in this comedic world is William Elsman, who, in addition to doing a superb job as Charles, plays Jacques, the lord of melancholy. As I mentioned earlier, he is delighted to have met Touchstone in the forest, and when describing him, looks back several times, as if hoping to spot him again. It is Jacques who delivers the most famous speech of the play. One thing I love about his delivery is that he gives the first line as a statement on its own, “All the world’s a stage.” He then steps onto the platform as if to prove his point, and only then continues the speech. He has the audience laughing, but by the end he has us more contemplative and sad, and has done it by degrees with us unaware of the change he has effected until the very end, at which point he lies down on the stage. Also surprisingly touching is the epilogue, which is delivered by Rosalind, as in the text, though here is sung. It is a beautiful ending to an absolutely delightful evening

This production of As You Like It runs through September 1st. There is one intermission, which comes at the end of Act III Scene ii. Visit the Independent Shakespeare Company’s website for the complete schedule. The show is free, but donations are encouraged.