It was a bright and cold day in September and the clocks were striking 13. No, that’s not quite right.
We that are true lovers run into strange capers. That’s more like it. Or rather, Shakespeare’s As You Like It, as directed by Ian Gallanar now appearing on the stages of Chesapeake Shakespeare Company’s boards for their fall-opening of the 2023/2024 season. Though one could readily meet the confusion of “Am I watching George Orwell’s 1984 (or even L. Frank Baum’s The Wizard of Oz)” with some of the mismatched themes spread ubiquitously throughout this production. But as the title implies, for CSC, it’s… as they like it.
Mistake me not in my speaking, the performances are— on the whole— solid. Chesapeake Shakespeare Company is touted and lauded for the capable Shakespearean performances of all varieties, even when the aesthetic or overarching theme doesn’t match up, present strongly or clearly enough, or just sits oddly upon the stage in the eye of the beholder. There’s little to complain about from the physical performances of the actors themselves (though at times— at this opening night performance— there were some volume issues, primarily with the actors playing Le Beau and Jaques) and some of them are downright stellar. This issues with this particular production of As You Like It, stem from Director Ian Gallanar and his unclear vision, unclear-mixed-up setting of the production, and the overall aesthetic, which isn’t unpleasant to look at, it just doesn’t make a whole lot of sense at the best of times.
The pacing of the show is a struggle. It takes far too long in the opening act for the momentum to really get up under the actors. If wasn’t for Le Beau (Saraniya Tharmarajah), who drops into the scene like a comic canker waiting to burst out of those slow-growing topiary scenes, the whole opening series of scenes would feel a little bit like a funerary dirge. The technical aspect of the show is also somewhat confusing (and on opening night, had some hiccups in its execution— the projection itself was out of synch with the actor who was on stage live-speaking, during one scene it was clear a projection was meant to be there and it simply wasn’t, etc. Technical hiccups are a part of life, but one expects for a professional company like CSC that these hiccups be ironed out more fully during the rehearsal and tech week process, if only because their purpose of spectacle was mostly superfluous in the production’s execution and in my opinion, the show would have been stronger without it.) I’m referring directly to the overlord-Big-Brother-esque screen projections of Duke Frederick (Gregory Burgess) whenever the Duke sends down a command from on-high. If they’re going for the Big-Brother is always watching vibe, then why have Burgess stand off to the side— clearly visible to the audience, speaking as his large projection is speaking? It almost creates this Wizard of Oz “man-behind-the-curtain” effect, which is not the ‘fear-me’ effect one would think Gallanar would be going for. Ultimately the projection of Duke Ferdinand (and the confusion about whether or not the characters are seeing him on some sort of futuristic video phone-call, or just massive screen on the side of the kingdom walls, etc.) is superfluous, adds confusion to what sort of time-place-setting Gallanar is going for, and doesn’t do anything for the performance, in my opinion. Whatever effect it was meant to create was unclear.
Kristina Lambdin’s costumes are of similar confusing clarity. Not to disparage Lambdin’s work— it is both beautiful and excellent, fitting each actor like a charm and full of all sorts of designs and colors (like the culturally colorful wedding garb that seems to come out of nowhere near the show’s conclusion.) The one thing that can be said for the consistency of the costuming— at least in so far as its coordination with the show’s setting— is that in Duke Frederick’s Court (or in the city) things are drab, dreary, and colorless. In the Forest of Arden, things are much more bohemian, colorful, and inspired-looking. (Hence the Wizard of Oz comparison, which was only reenforced by the screen projection of the booming voice of malevolence, diminished and dwindled by having Burgess stand just beside his own projections.) Lambdin’s capable design work shouldn’t be overlooked just because whatever aesthetic the director was going for wasn’t clear. (And to be very clear— one should be able to look at a production, if not immediately by the end of the first scene or two, and know specifically where and when the show is taking place. If you’re not going to stick to the way Shakespeare wrote it, then your design choices and directorial concepts need to be crystal-clear, especially when you are the lauded as the city’s professional Shakespeare company.)
Technical debacles, costume and scenic confusion aside, (and the aforementioned issues with volume-projection from a few performers and the overall drag-along pacing) the show is still an agreeable, enjoyable performance— if you’re familiar with the storyline of As You Like It or if you’re unfamiliar with the storyline and don’t mind not being sure where and where it’s meant to be taking place. (Part of conceptually layering a theme over Shakespeare, and the freedom to do so because the Bard’s work is in complete public domain, means that your concept and theme should be clear and easily understood by the average layperson.) As also previously mentioned, the performances across the board— in regards to comic timing, clarity of Shakespearean vernacular and dialect delivery, as well as emotional depth and fortitude, were on excellent par with what CSC is known for. (At this performance) the company— comprised of Brendan Murray, Lauren Davis, Gregory Burgess, Surasree Das, Ethan Larsen, Gabriel Alejandro, Scott Allan Small, Jordan Brown, Dylan Arredondo, Michael P. Sullivan, Elana Michelle, Saraniya Tharmarajah, Lizzi Albert, Jonas Connors-Grey, Kate Forton, and Matt Harris— presents a light-hearted tale, tempered with melancholy and moodiness, keeping the audience engaged in Shakespeare’s narrative.
For being an understudy swung into place on opening night, Matt Harris as the bubbly country lad, William, does a superb job of fawning and drooling all over Audrey (Kate Forton, playing the character for all the simple-minded silliness that she can muster.) And there’s a hilarious moment, featuring Touchstone (the marvelous Dylan Arredondo, who could hold his own in any competitive comedy-thrown-down) where Harris’ William gets chased off the stage and out of the scene by Arredondo’s Touchstone with hip-pelvic-leap-hopping that is simply hysterical. There’s a lot to be said for nonsense comedy in this production, not the least of which is Corin the shepherd (Jonas Connors-Grey) and his hilarious Sheep (by way of props master John Bakker.) The sheep easily warrants its own ovation and Connors-Grey keeps that energy going in his scenes. Jordan Brown’s Silvius is also worth noting, as he hangs on Phebe (Lizzi Albert’s) every word. Albert presents a masterclass in the art of tongue-slaying when it comes to cutting Brown’s Silvius down to size, but he gives back as good as he gets, in a convivial and humorously lovesick nature. Doubling up as Sir Oliver Martext and Adam, the elderly servant character, the comedic caricature nature of Scott Alan Small’s performance in both roles only serves to add to the humors of the production.
If there’s a questionable presentation of character choices in this production it’s the way Gregory Burgess’ Duke Frederick was handled and the overt apathy with which Michael P. Sullivan brings to Jacques. Yes the character is meant to be steeped to the point of drowning in melancholy, yes there needs to be a palpable sense of ennui so that Duke Senior (the reverent and affable Brendan Murray) can mock it, but there’s just something lacking in Sullivan’s portrayal. It’s this thin air of indifference that just feels flat. If that’s an intentional directorial choice from Ian Gallanar, it isn’t reading with the level of dysthymia audiences have come to expect from the Jacques character. And in the infamous “seven stages of man” speech, there’s a moment (at least on opening night) where Sullivan trails off. It almost reads like a “White Room” moment. It’s unclear whether this was intentionally a choice…as if Jacques was meant to be contemplating his own morality mid-speech or if the actor himself was truly lost in the text. (If it is intentional, for contemplative purposes, it does not read that way.)
Though As You Like It may be all about love, it’s the kinship cousin-relationship between Rosalind (Lauren Davis) and Celia (Surasree Das.) Davis and Das’ camaraderie is earnest and genuine and delightful to watch. Whether their tittering about Davis’ twitterpation over Orlando (Gabriel Alejandro) or consoling one another over the banishment, it is clear that these two actors have brought this almost sororal bond to the forefront of their characters’ existences on the stage. When the cousins finally arrive in the colorful Forest of Arden (welcome to Oz) Duke Senior (Brendan Murray) greets them in glorious welcome and his bright costuming is as cheery as his attitude. Gabriel Alejandro, as the young-lover-Orlando is equal parts charming and intriguing, particularly when he’s speaking in his native tongue professing poems of love to Rosalind. It’s a gorgeous choice and the one definitive one that Gallanar makes for the production that truly enhances the viewers experience. Of course when Alejandro and Davis are having some of their scenes, keep your eye out for Das, who is chewing scenery in the background like there’s no tomorrow, adding levity and hilarity to the overall existence of comedy in the performance.
It’s a series of strong performances— in cases truly excellent performances— that have been hampered and hindered by a mismatched conceptual arch of unclear themes. Chesapeake Shakespeare Company has consistently delivered on their actual performances, so As You Like It is one to be viewed if you can overcome the confusion and general disconnect between what the characters are saying and doing versus where they are, how they’re dressed, and the other aesthetic choices that surround them while they’re doing it.
Running Time: Approximately 2 hours and 45 minutes with one intermission
As You Like It plays through October 22nd 2023 with Chesapeake Shakespeare Company— 7 S. Calvert Street in Baltimore, MD. Tickets are available by calling the box office at 410-244-8570 or purchasing them in advance online.
