As You Like It, Royal Shakespeare Theatre Stratford, 24 May 2013
A dark stage was strewn with very dead leaves. Looming at the back was a dense set of upright wooden beams reminiscent of a foreboding forest. Two sombrely-clad figures appeared. Orlando (Alex Waldmann), in dark trousers and a hoodie, began sweeping the leaves with a wide-headed broom, while Adam (David Fielder) wheeled the barrow into which the plant detritus was collected.
As the last of the leaves was deposited into the barrow, Orlando sat, lit a cigarette and launched into his opening speech, complaining about his brother’s neglect of his upbringing (1.1).
Oliver (Luke Norris) appeared behind them in a smart dark suit. Despite his haughtiness, he was neither cruel nor excessively arrogant. He came across like someone who had merely taken advantage of an opportunity to enrich himself at his brother’s expense. This made his subsequent conversion to goodness more believable and allowed Duke Frederick to assume the mantle of the principal, unrivalled villain.
In his anger Orlando punched Oliver, who cried “What, boy!” in surprise. The fight escalated until Orlando straddled Oliver with his hand round his throat.
After this tense beginning a note of humour was struck when Oliver called for Dennis (Daniel Easton), and his comically obsequious servant announced that Charles was waiting to speak with him.
Charles (Mark Holgate) exposited the news about Duke Senior fleeing to the Forest of Arden and Oliver encouraged him not to spare Orlando in the forthcoming wrestling tournament.
A group of women dressed in formal evening gowns assembled in a corner upstage and stood in a rigid formation. They began a series of slow, synchronised moves under the intimidating gaze of male overseers. This was dancing, but with all the joy sucked out. They occasionally clicked their fingers and tossed their heads, but the stiffness and formality of their movements made them robotic rather than exotic.
This joyless dance showed how the new Duke’s court was a place of emotional as well as physical grimness. Touchstone (Nicholas Tennant), in his vest, clown’s makeup and red nose, attempted briefly to mock the dancers, but he soon gave up his fitful rebellion.
Rosalind (Pippa Nixon) and Celia (Joanna Horton) broke out of the formation and came forward (1.2). Celia asked Rosalind to be merry and when Rosalind replied that she showed “more mirth than I am mistress of”, she pointed at the sad women behind them. Rosalind’s suggestion that they should make sport by falling in love looked like desperate escapism and an unlikely outcome given their circumstances.
Touchstone made his first proper appearance. His joke about honour and pancakes showed him to be a rebel against the new dour order at court because he did not take its formality seriously.
Celia’s “For since the little wit that fools have was silenced” hinted at another sinister aspect of the new order imposed by Duke Frederick, the debilitating effects of which had already been visualised.
Madame La Belle (Karen Archer) told the two friends about the wrestling. The sparky, witty exchange that ensued between them provided a foretaste of the glee that would subsequently flourish once Rosalind and Celia had been exiled from the court.
As a crowd gathered to watch the match, boards were taken up from the stage platform to reveal a wrestling pit beneath.
Our first look at Duke Frederick (John Stahl) showed him to be burly and sinister, with a deep voice and unsmiling demeanour: just the person to drain all the joy out of the entire dukedom.
Orlando stood on the other side of the pit from Rosalind and Celia, facing upstage in his hoodie until called by La Belle. He spoke with Rosalind in front of the pit and they seemed charmed with each other, but not overly so.
Orlando knelt in the pit as Touchstone blindfolded and poured water over his head. Charles then began his assault and repeatedly overwhelmed him. Orlando seemed on the verge of total defeat by his much stronger opponent until Rosalind crouched at the edge of the pit and enthused “O excellent young man!” Orlando replied disbelievingly with an extra-textual “Really?”
But Rosalind’s encouragement had a transforming effect on Orlando’s performance. Energised by her words, Orlando charged at Charles, punching and beating him into submission to the point that others had to prevent him from slamming the defeated wrestler’s head against the ground.
Duke Frederick exuded brooding menace when expressing his displeasure at victor Orlando’s parentage.
After lingering upstage right for a while, Rosalind and Celia returned to thank Orlando. Rosalind put her pendant necklace around Orlando’s neck. As they conversed, Duke Frederick appeared upstage and observed their complicit chat from a distance. The dark duke now had proof of Rosalind’s disloyalty.
Orlando held the pendant at the end of the necklace towards Rosalind as he tried to utter a meaningful reply, but his tongue had weights on it.
La Belle, acting in response to the duke’s newly-stoked fury, warned Orlando to leave the court. She also informed him that the “smaller” of the two women was the Duke’s daughter. Orlando’s departing “But heavenly Rosalind!” was said looking at his beloved as Rosalind’s entry for the next scene overlapped with his exit.
In keeping with the sombreness of the court atmosphere, Rosalind’s admission that her lack of words was “for my child’s father” did not come as a joyous outburst about Orlando but as a complaint about being unattached.
Their ensuing lively and jovial wordplay was comprehensively crushed by the Duke’s scornful ultimatum to Rosalind to leave the court on pain of death. The threat was very believable, particularly when the Duke gave vent to his fury, throwing Rosalind into the pit as he told Celia that she was a fool for standing by her cousin. Although Rosalind had defended herself with spirit, the Duke’s violence showed him intractable to logic and decency.
They decided to flee. Rosalind plumped for a male disguise and the name Ganymede, and when Celia half-heartedly suggested the alias Aliena, Rosalind backed her up with an extra-textual “No, it’s good!”
In another scene overlap, Rosalind stopped and stared at her estranged father Duke Senior (Cliff Burnett) as he appeared (2.1). A subtle lighting change made the tight array of beams appear like dense forest.
Duke Senior had long grey hair, but his skinny jeans and relaxed, casual demeanour pointed to a youthful spirit. He and his fellows carried hunting rifles with which they intended to “kill us venison”.
Having seen the depressing nature of the usurping Duke Frederick’s “envious court”, it was understandable that these refugees considered suffering “the icy fang” of the winter wind less problematic.
The 1st Lord (Samuel Taylor) launched into an energetic impression of Jaques, including his Welsh accent.
The stage became dark again as Duke Frederick bellowed his displeasure at Rosalind and Celia’s flight (2.2). A very nervous Hisperia (Rosie Hilal) stood by as the Duke was told how she had overheard the cousins’ praise of Orlando. The Duke angrily ordered that Oliver be brought to him.
Still in the darkness of the court, Adam warned Orlando that his brother planned to burn down his lodging (2.3). Adam showed a small tin in which he had saved money for his old age, but which he now wanted to use to fund their flight. The rattle of coins in the meagre container evoked paradoxically the grandeur of Adam’s gesture.
Adam’s description of his sensible, non-profligate youth was very moving. It now enabled him to enjoy a “lusty winter, frosty but kindly”, which he demonstrated by carrying Orlando’s rucksack.
The main shift to the world of the forest was marked by a transformative ceremony.
Corin (Robin Soans) entered the downstage pit and, Prospero-like, drew a circle around himself in the dirt with his shepherd’s staff. The creation of this magic circle made the beam forest fold to one side as the upstage revolve on which some of the beams stood began to turn. The effect was to create an open space where before had stood an impenetrable wall.
We saw Rosalind in her man’s disguise of trousers, short hair and rucksack, together with Touchstone (2.4). Celia lagged far behind offstage with the sound of clanging cooking pots announcing her approach. Rosalind said she should “comfort the weaker vessel” at which point Celia finally appeared, completely overloaded with equipment on her back, and collapsed.
Rosalind stood in the pit to announce they were in the Forest of Arden. Touchstone was actually happy to be there and his delivery of “the more fool I” transformed his gripe into a positive vote in favour of the new location.
Rosalind’s response to seeing Silvius (Michael Grady-Hall) complain to Corin about his unrequited love for Phoebe was slightly too enthusiastic. Instead of pining like Silvius, her “Alas, poor shepherd…” verged on the pantomimic. This abrupt change of style might have been intended to distinguish the forest from the court, but the difference felt too pronounced.
Touchstone provided a note of earthy humour, pausing before saying he had broke “… my sword…” to introduce a bawdy connotation into the description of his wooing of Jane Smile.
Celia was starving hungry and Rosalind prepared to seek help from Corin. She pushed some socks down her trousers to plump out her groin, while the others placed Touchstone’s hat on her head, which being too big, came right down over her eyes.
Striking a mannish pose and adopting a strained style of speech without deepening her tone, she struck up a conversation with the shepherd. She repeated her reference to Celia “…and faints for succour” until Celia took the hint and swooned dramatically to conform with Rosalind’s description of her.
Celia, like Rosalind, was convinced that a rustic mode of speech was required to get on Corin’s side, so her “I like this place and willingly could waste my time in it” was a strangulated approximation of the local dialect. Not wanting to let the side down, Touchstone also jabbered incoherently.
They left to buy the sheepcote as the exiles entered (2.5). Amiens (Chris Jared) played guitar and sang Laura Marling’s adaptation of Under the Greenwood Tree, accompanied by another guitarist.
Jaques (Oliver Ryan) teased Amiens about his singing, in an accent less obviously Welsh than that of his imitator in 2.1. Rather than exude melancholy, this Jaques was more otherworldly, to the extent that his occasional skyward glances made it seem he was on the lookout for the ship that would return him to his home planet.
After another Amiens song, Jaques handed him the words to one of his own composing. Amiens took the paper and sat in a circle with his fellow musicians upstage as they concentrated on rendering this new tune correctly.
Jaques pointed with his finger in a wide sweep taking in the audience when explaining that “Ducdame” was “a Greek invocation to call fools into a circle”.
Adam and Orlando had found their way to the forest (2.6). Adam collapsed in the pit, fainting with hunger. Cradling his loyal manservant, Orlando discovered that his water bottle was empty, which heightened his resolve to seek out food, carrying Adam along rather than leaving him behind.
Jaques was enthused after his meeting with Touchstone, relishing his memory of the experience by lying on his back in the pit (2.7).
Oliver Ryan’s Jaques was very distinctive but not show-stoppingly magnetic as Forbes Masson’s Jaques had been in the RSC’s 2009 production. This helped to keep the production’s focus on Pippa Nixon’s Rosalind.
Orlando surprised the foresters at sword-point and demanded food. This wish granted, he went to fetch Adam while Jaques spoke of the seven ages of man.
Jaques took his hat and cradled it when referring to the infant, then imitated the “whining schoolboy”, before pointing at two of his fellow foresters as the lover and the soldier. He used his hat to represent the “fair round belly” of the justice “with good capon lined” and gestured at his trousers for the pantaloon, trailing off into his gloomy conclusion about “second childishness and mere oblivion”.
Orlando returned with Adam, and Amiens launched into a Laura Marling update of “Blow, Blow Thou Winter Wind” accompanied by a band wheeled in on a cart far upstage left.
Orlando sat motionless as the song played, but must have spoken about his situation and been overheard by the Duke in order for the latter to comment on Orlando being Sir Rowland’s son.
The action returned briefly to the court where Duke Frederick loomed threateningly over Oliver, who had been brought to his knees in the pit, finally banishing him and ordering the seizure of all his property (3.1).
Orlando appeared in a knitted hat with earflaps, and carrying an accordion as he attempted to compose a song (3.2). “Rosaline… if I could make you mine… I’d walk the line… no…”, he concluded as his composition went astray.
After another go, rhyming “high tower” and “power”, he launched into the text’s “Hang there, my verse, in witness of my love” sticking sheets of writing onto the few beams that remained to represent the forest.
He urged himself to “Run, run” and carve Rosalind’s name on every tree, and left the stage just as a figure we would later discover was Hymen, appeared in the shadows with a stag’s head atop his own. At this point the interval came.
At the start of the second half the raised area and sunken pit in front of the revolve had been removed and ash spread over the entire stage.
Corin and Touchstone sat in silence for some time, before Touchstone held forth on the tediousness of a shepherd’s life.
Rosalind, now in a long-sleeved shirt and jeans, read the verse she had found. Touchstone’s mockery extended to kneeling in front of the cross-dressed woman and staring at her crotch to emphasise “must find love’s prick…”
Rosalind’s retort referenced the “medlar”, a fruit whose bawdy connotations she brought out by placing two fingers in front of her mouth in a V-shape and licking with her tongue. She also described the medlar as “the earliest fruit in the cunt-try [country]”.
Celia, whose forest attire included a skirt/leggings combination and Zooey Deschanel glasses, read out the verse she had found, prompting the band to strike up. She launched into a slightly histrionic rendition running about the stage and standing on the drinks fridge.
At various points during these forest scenes, people would go to this drinks fridge and retrieve cans.
When Celia told Rosalind that Orlando was the author of the verses, she panicked at her disguise and began to strip, slipping off her braces and dropping her trousers to reveal the sock padding in her pants, as Celia hastily tried to hoist the trousers back up again.
Rosalind wanted to know more, so Celia asked her to take note “with good observance”, pointed with the two fingers of one hand at her own eyes and then extended them towards Rosalind, accompanying this gesture with an extra-textual “watch!” Celia then stood next to Rosalind and pointed at the downstage beam representing the tree under which she had found Orlando.
As with almost all performances of this play, Rosalind’s “…I am a woman. When I think, I must speak” amused the audience greatly.
The pair hid from Orlando and Jaques behind a stage left beam when the two men entered. But they could not help but react to what Orlando said.
Orlando confirmed that Rosalind was his love’s name, causing the two women to squee out loud. Rosalind reached out with her hand when Orlando defended her name, and had to be pulled back by Celia. Finally, when Orlando said that Rosalind was “Just as high as my heart” they both aww-ed at the cuteness of his expression.
Jaques placed his thumb and forefinger together and spied through the circle they formed when suggesting Orlando conned goldsmiths’ wives out of rings.
Once Jaques had left, Rosalind became determined to speak to Orlando. She adjusted her crotch and took a can from the fridge before addressing him “like a saucy lackey”.
Orlando appreciated her ready wit, shared a joint with her and fixed her with a contented smile. They hit it off instantly despite Rosalind’s disguise, which demonstrated that Orlando found her personality intrinsically attractive.
Orlando mentioned Rosalind’s overly-refined accent. This perturbed Rosalind, who had to hastily devise the story about her uncle teaching her to speak. But its delivery was strained.
Her insecurity in her disguise became noticeable when she took Orlando downstage, her hand on his shoulder, and pointed back at Celia, saying “I thank God I am not a woman” in a clumsy attempt at male bonding.
Rosalind said that Orlando had none of the marks of a man in love and bobbed around him pointing out his deficiencies, plucking his hat off complaining that he was “point-device” in his “accoutrements”.
She took another opportunity to bond with Orlando, pointing at Celia to comment on “one of the points in which women still give the lie to their consciences.”
Rosalind asked Orlando if he was responsible for the love verses strewn about the forest. He confessed that he was, and unpacked yet more pieces of paper from several pockets. Sheet followed sheet in a comical moment showing the excess of verse he still had about him.
Rosalind moved away from him, casting a doubtful glance back as she asked “But are you so much in love as your rhymes speak?” It was a beautiful moment, showing the concern and insecurity behind Rosalind’s brave ‘performance’ as Ganymede.
Proclaiming love to be “merely a madness”, Rosalind said she would cure Orlando of this sickness by her impetuous response to his wooing. This, of course, required him to address ‘Ganymede’ as Rosalind. Orlando willingly agreed to do so, much to Rosalind’s delight.
Audrey the goatherd (Rosie Hilal again) wore sheepskin boots, a short skirt and a midriff-baring top. A utility belt hung from her waist in which she stored the tools of her trade (3.3).
Her conversation with Touchstone was spied on by Jaques, who hid behind a series of beams, effecting a token disguise by holding up two fronds.
Touchstone took a can from the fridge before telling Audrey that he hoped she was feigning like a poet when she said she was honest. He then knelt before her and attempted unsuccessfully to prize off her top and skirt.
Realising that he would have to go the honourable route, he got down on one knee and tried to utter the words “I will marry thee”. But this was so against his nature that it took an age before he could pronounce the words comprehensibly, mouthing a series of approximations to the key phrase before spitting it out properly.
Audrey was jubilant and ran off, leaving Touchstone to start on his speech about cuckolds. The actor broke out of character for a while and asked a man in the audience how long he had been married. Graham, for it was he, replied that he could not remember, but his wife would know. This caused great amusement, more perhaps than the adlibbing actor had planned. He said that he would now get back on text “for my own safety”. Touchstone then included Graham’s name in his speech, using it to replace the references or allusions in the text to a married man.
Audrey returned in a bridal veil and carrying a bouquet in time for the entry of Sir Oliver Martext (Dave Fishley), a magnificent spliff-toting Rastafarian, who insisted that someone should give Audrey away.
Jaques came forward but immediately set about dissuading Touchstone from marrying in this fashion. Sir Oliver concluded that none of them would “flout me out of my calling”, with the word “calling” clearly referring to the huge spliff that he bent backwards to draw on sending clouds of smoke into the air.
Orlando had not turned up at the promised time, so Celia sat and commiserated by holding hands with Rosalind, who was now wearing a waistcoat over a white vest (3.4).
An excited Corin told them of the approach of Silvius and Phoebe. Phoebe (Natalie Klamar) lambasted Silvius in an odd rural accent (3.5). Natalie Klamar delivered a focused and well-paced performance of Phoebe’s lengthy demolition of Silvius’s accusation that she was his executioner.
Rosalind came forward to castigate Phoebe, a chiding that the shepherdess willingly received. She ran her hands through her hair behind her head as she tangled with Ganymede’s eyes, making her attraction very plain.
Rosalind and Celia made a quick exit after telling Silvius where to find them.
Phoebe declared how much she was in love and told Silvius she needed him for an errand.
Describing Ganymede as “a peevish boy”, Phoebe launched into a lengthy conversation with herself, tussling back and forth between his good and bad points. She sat on the fridge and proceeded to bounce up and down, screwing up her eyes as she lingered over Ganymede’s physicality. Her rhythmic gyrations on the fridge became increasingly orgasmic as she inwardly fantasised. She concluded by asking Silvius to take a letter to the youth.
After Rosalind’s mockery of Jaques, comparing him to a post, we soon saw that Rosalind was anything but a motionless object (4.1).
Jaques flounced off when Orlando approached, drawing full attention to the young man’s changed appearance. Rosalind must have had a profound effect on him when she had described the marks of a true lover, because Orlando had returned having reworked his appearance to conform in every detail to what a true lover should look like.
He had grown a straggly beard, his shoes were untied and his clothes characterised by the “careless desolation” of Rosalind’s idealised description. He also had half of Rosalind’s name written up each arm and had brought her a bouquet of flowers.
But Rosalind was annoyed at his tardiness and prowled around him with an agile dexterity. Overly excited as she described herself as “your Rosalind”, she sat behind Celia who corrected her enthusiasm by referring to the ‘real’ Rosalind “of a better leer than you”.
Rosalind bounded to her feet again, taking off her waistcoat to stand in just trousers and vest, leaning forward in a semi-crouch with her hands on her thighs and her rear sticking out. This was a combative posture, suggesting that Orlando was now engaged in another wrestling bout of a different nature. She continued to lean forward, jigging up and down as she challenged Orlando “Come, woo me, woo me…”
Orlando rushed forward aggressively, exclaiming “I would kiss before I spoke”. Rosalind immediately saw the problem of his enthusiastic response to her in her male disguise. She turned away from his advances saying “Nay…” and moved aside from Orlando before pulling at her fake crotch bulge to ensure it was visible and prominent. This restatement of her masculine disguise spoke of her puzzlement as to why Orlando was so forward with another male, something that perhaps gave her momentary doubts about his masculinity.
Notwithstanding these uncertainties, from that moment on Rosalind was more tactile towards Orlando as if acceding to his desire for greater physical intimacy.
Rosalind said she would not have Orlando, eliciting his dramatic “I die”. She lectured him about Troilus and Leander and how they had not died for love, and Orlando obediently sat leaning against the downstage beam to take notes.
Reverting to “a more coming-on disposition”, Rosalind got Celia to preside over a mock wedding. The bouquet that Orlando had brought became Rosalind’s bridal bouquet as the pair knelt and faced each other with Celia standing over them.
Rosalind asked Orlando how long he would have her. Answer came as he climbed on top of her saying “for ever and a day”. Once again Rosalind was uncomfortable with his readiness to be so physical with ‘Ganymede’. As he pinned her to the ground, his body between her thighs, she cried “No, no Orlando…” and extricated herself from his clutches. This time Orlando realised he had gone too far. He stood up and in deep embarrassment tried to conceal his arousal.
Rosalind bounced around in front of Orlando acting out the various ways that she would torment him once they were married.
Orlando left to dine with the Duke, allowing Rosalind to profess to Celia how much she was in love. Celia said she would sleep and exited, leaving Rosalind on stage to sing a song by torchlight. This sequence replaced scene 4.2. As she sang, female torch bearers entered and circled her, creating a very magical setting that foreshadowed the play’s conclusion.
Having Rosalind on stage at this point worked well, because when Celia reappeared, Rosalind was the first to speak in 4.3. It was as if the song had marked her dreaming the intervening two hours.
Orlando had not returned, but they were soon occupied by the letter from Phoebe that Silvius had brought to Rosalind. Silvius discovered to his chagrin that the letter was not a caustic chiding.
Oliver appeared through the forest wearing yellow waterproofs, and with a map and compass round his neck. He cheerily introduced himself, which was entirely credible, given that he had not been initially characterised as a cruel monster. This facilitated his present transformation into a good guy.
Celia approached Oliver and gave him directions to the sheepcote, pointing to its location on his map. He recognised the pair, reading out the description of them he had been given, presumably by Orlando, from a scrap of paper.
Oliver showed Rosalind the bloody napkin sent to her by Orlando, which he had stored behind the clear plastic of his map case. He recounted the story of how Orlando had found and rescued his brother in the forest, leaving to the end the great reveal that he was that brother.
Oliver explained how Orlando had used the napkin to bind the wound caused by the lioness’ bite, extracting it from the case and presenting it to Rosalind, who promptly fainted backwards.
Rosalind recovered consciousness, but was groggy and pleaded plaintively “I would I were at home”. She was helped to her feet by Oliver, but there was no indication that he had felt anything womanly about her body.
Rosalind flipped between confident assertion of her disguise and fatigued whining, as if giving up on the pretence. Oliver said she lacked a man’s heart, to which she replied by pleading “I do so, I confess it”, reaching out to him as if this admission would bring an end to her troubles.
But she then began overcompensating for her frailty by claiming to have counterfeited. She maintained this until Oliver said she should counterfeit to be a man, at which point she almost collapsed again, saying “So I do… I should have been a woman by right”, until Celia pulled her upright once more.
Audrey was very unhappy about the failed wedding (5.1). William (Mark Holgate again), a big man with a simple soul, arrived clutching a small, long-stemmed flower which he hoped to present to her. Touchstone dispatched him, telling him not to bother Audrey and issued a sequence of threats accompanied by drum beats. Far from being annoyed with Touchstone, Audrey had stood and watched all this admiringly and was now very impressed with him.
Orlando was surprised that his brother had fallen in love so quickly with Aliena. Oliver continued to cement his nice-guy persona by exclaiming “I love Aliena” with a joyous flourish. Orlando had his arm in a real bandage, indicating that Oliver’s story was correct and not a poetic subterfuge to impress Rosalind.
Rosalind asked Orlando if his brother had told him how she had counterfeited. Because Oliver had not seen through Rosalind’s disguise when helping her to her feet, Orlando’s “Ay, and greater wonders than that” clearly referred to Oliver’s love for Aliena and was not played as a winking hint to Rosalind that she had been rumbled.
Rosalind picked up on this and developed the theme, describing how the couple were in “the very wrath of love”. His brother’s joy was clearly making Orlando suffer, as he said how bitter it was to “look into happiness through another man’s eyes”.
Rosalind asked him if she would no longer be an acceptable substitute for his Rosalind.
Orlando said “I can live no longer by thinking” and slowly offered his hand for her to shake. The shake done, Orlando turned and walked away from Rosalind, presumably never to return.
Orlando’s intended departure after his sad farewell to Rosalind became a very tense moment, as the entire future of their relationship hung in the balance. Instead of rushing towards an inevitable happy end, the play entered into a moment of crisis, reaching a crucial turning point in what was now an edgy drama. Rosalind had to draw something out of the bag to win Orlando back.
Rosalind’s next speech was received in pin-drop silence. She called to Orlando just as he disappeared, promising to “weary you then no longer with idle talking”. The nervous tension of the moment expressed itself in the way she rambled confusedly, desperately thinking on her feet in the face of the potential catastrophe of losing Orlando.
All this could be seen in the disconnectedness of her speech: “I speak not this that you should bear a good opinion of my knowledge… Neither do I labour for a greater esteem than may in some little measure draw a belief from you, to do yourself good and not to grace me.”
Orlando turned and approached Rosalind as she explained that she was a magician and could arrange for him to marry Rosalind the next day.
Phoebe, with Silvius trailing behind her, complained that Rosalind had read out the letter she had sent. This led into Silvius’s description of “what ‘tis to love”.
Rosalind’s repeated “And I for no woman” was addressed first to Phoebe and then to Orlando, expressing discouragement and encouragement in equal measure. Silvius and Phoebe ended up lying on the ground facing each other, continuing to tattle while Rosalind asked Orlando “Who do you speak to ‘why blame you me to love you?’” Orlando referred to the absent Rosalind, holding up the pendant he was still wearing, which as Rosalind’s gift, was the nearest thing he had to her.
Rosalind gave her instructions to the lovers to meet her again tomorrow, promising them various sorts of contentment.
Touchstone and Audrey met two of the Duke’s pages (Samuel Taylor & Karen Archer again), which turned into a song and dance centred on a new version of It Was a Lover and His Lass (5.3). The band played and the pair danced round each other while the revolve was decked out with strings of lights and other paraphernalia in preparation for the wedding. Paper lanterns descended to provide illumination.
Duke Senior and Orlando remarked how Rosalind was strangely familiar (5.4). Lines 5-25, the reappearance of Rosalind with her renewed promises to the lovers, were cut. Thus the initial conversation between the Duke and Orlando continued uninterrupted with Senior saying that the “shepherd boy” reminded him of his daughter while Orlando thought he was her brother.
Touchstone carried Audrey onstage on his back via the stage left walkway. In a nice touch, Audrey was now wearing a clown’s nose like Touchstone’s, symbolising her affinity with him.
The extended sequence about the seven degrees of the lie was cut. This has always looked like filler to allow the actor playing Rosalind to change into her wedding dress. But because this production included scene 5.3 and cut Rosalind’s re-entry at the start of this scene, there was plenty of time for Pippa Nixon to change and Touchstone’s quirky discourse was omitted.
However, when Touchstone gestured at Audrey and remarked on this “poor humour of mine, sir, to take that that no man else will”, William, who was definitely willing to take Audrey, lunged forward aggressively and had to be restrained. This demonstration of the unhappy consequences of William’s rejection introduced a dark undercurrent that would later be developed by Jaques.
Rosalind and Celia, now wearing simple white dresses, walked slowly together hand in hand accompanied by Hymen (Robin Soams again) in his stag’s head costume. They parted hands as they approached a central beam and passed either side of it, possibly symbolising the downgrading of their childhood friendship in the face of their impending marriages.
Hymen reunited the Duke with his daughter. Rosalind embraced Orlando, who kissed her as he declared “… you are my Rosalind”. He took the pendant necklace from his neck and replaced it around Rosalind’s neck from whence it had originally come.
Phoebe realised she was not going to marry Ganymede. Hymen reined in the confusion and handed out four sets of his eponymous blue bands that the kneeling couples then used to bind their hands together. He addressed each couple in turn, the pair in question rising from their crouched position when mentioned.
Once the brief ceremony was finished there was general whooping and celebration, which was interrupted by the arrival of Jaques de Boys (Chris Jared again) with news of Duke Frederick’s conversion to goodness.
The Duke’s intention that everyone should fall into “rustic revelry” was delayed by Jaques departing to seek out Frederick. Not a fan of “dancing measures”, he breezed off the downstage left walkway. Rosalind offered him her bridal bouquet, which he paused to take with him. Thus was Jaques’ undercutting of the marriage festivities itself undercut by his own acceptance of Rosalind’s gift – perhaps signifying that he would be the next to be married?
A jig was danced at the end with all the couples joining in. Eventually, though, the central couple of Rosalind and Orlando were left by themselves. He held her aloft; they smooched and collapsed into the earthy ground as water rained down on them as if at a festival. They kissed and got themselves muddy in the joyous abandon of young love fulfilled.
The wrestling pit of the court where once Orlando had fought for his life was now supplanted by a muddy field of festival fun in which Orlando and Rosalind celebrated life.
Rosalind rose from the mire to deliver the epilogue, at the end of which the audience bade her farewell with great applause.
Unusually for a production of this play, Pippa Nixon received a solo curtain call in recognition of her portrayal of Rosalind.
Under Maria Åberg’s capable direction, the imagining of the Forest of Arden as a contemporary music festival worked very well. An association was made between the escapist freedom enjoyed by urban dwellers camping in fields, leaving their cares behind them to frolic in mud and listen to music, and the forest within the play that serves as a refuge from the crushing conformity of Duke Frederick’s court.
But the principal reason for the success of the production was Pippa Nixon’s outstanding performance as Rosalind. The abiding memory of her stage presence was its mixture of tenderness and freneticism. Her last minute rescue of her relationship with Orlando made her almost a heroic figure. All of which meant that her solo curtain call was thoroughly deserved.