Theatre review: Bard on the Beach's playful hit As You Like It returns in fine, crowd-pleasing form
Committed comic performances, rainbow-hued ‘60s sets, and smoothly integrated Beatles songs make for a fun evening of Shakespeare
Oscar Derkx and Chelsea Rose in As You Like It. Photo by Tim Matheson
Bard on the Beach presents As You Like It at the BMO Mainstage to September 30
DARYL CLORAN’S adaptation of As You Like It premiered in Vancouver in 2018 and became Bard on the Beach's most successful production to date. Since then, the show, which incorporates 24 Beatles songs into a tightened-up version of Shakespeare’s play, has toured several cities, including Chicago, Edmonton, and Milwaukee. With a now proven track record of success, the same creative team brings the show back—boasting some strong new performances and reaffirming the commitment to the playful setting and source material, ensuring another dynamic and crowd-pleasing rendition.
This adaptation of the classic comedy transplants the action to Vancouver and the Okanagan in the 1960s. The staging in the first act recreates a nostalgic time-capsule of the city as a wacky wrestling contest takes place. In the frenetic introduction (which starts during the preshow, so make sure to arrive early!) there are pyrotechnics, a wrestler by the name Mustachio, and a dangling briefcase of money over the ring. Jennifer Lines’s wicked and corrupt Dame Frances, known in the original text as Duke Frederick, watches over the chaotic scenes, orchestrating the matches from a raised balcony to the tune of “Money (That’s What I Want)”.
In his quest for the inheritance left by his late father, kind-hearted Orlando finds himself at odds with his greedy older brother, Oliver. Manipulated by Oliver, Orlando is coerced into a wrestling match in pursuit of the money rightfully owed to him. Rosalind, the daughter of the banished Dame Senior and niece of Dame Frances, watches the fight as a spectator. When she locks eyes with Orlando, the pair instantly fall in love. Oppressive forces cause the young lovers to lose track of each other as they flee the city into the Okanagan. Accompanied by her cousin/best friend Celia (the charming Naomi Ngebulana) and the hilariously snooty Touchstone (Andrew McNee), Rosalind encounters the lovesick and unsuspecting Orlando in the forest. Disguised as the boy Ganymede, she schemes to test Orlando’s love. Dame Senior (also played by Lines) is cleverly characterized as a laid-back, back-to-the-land bohemian. The show casts live instrumentalists as her group of banished “nobles” to musicalize the romantic entanglements and mishaps of the city-dwelling characters, as they surrender to the liberating atmosphere and meet more colourful individuals along the way.
As fair warning for Shakespeare purists, it's important to note that approximately half of the original text has been trimmed to accommodate the musical performances. Far from being a detraction, the ensemble adeptly delivers the poetic and twisting lines, which transition into the melodies of the Beatles with surprising ease. As the morose Jacques (played by Scott Ellis) engages in philosophical banter with the Forest Lords/musicians, his line about "sucking melancholy as a weasel sucks eggs" is cleverly and comically inserted just before his rendition of "I Am the Walrus”. The song, which contains “I am the egg man" and "Goo goo g'joob”, among its famously obscure lyrics, causes the musicians to enquire about the meaning behind Jacques's esoteric musings. To that, Jaques delivers "'Tis a Greek invocation, to call fools into a circle."
The musical numbers and choreography heighten each character’s unique comedic flair. Chelsea Rose's portrayal of Rosalind captures the passionate, intelligent, and manipulative nature of the heroine, while providing glimpses of vulnerability through touching vocal performances. Oscar Derkx's Orlando flawlessly transitions from mumbling and love-stricken to an irresistibly charismatic persona as he sings the "Do You Want to Know a Secret?" with a smoothness that exudes Teddy Boy charm while he glides effortlessly across the stage. Ben Elliott as Silvius, Andrew McNee as Touchstone, and Alexandra Lainfiesta as Phoebe dominate the stage with committed physical, wildly unhinged comedy as they declare their affection to their respective lovers. Scott Bellis provides a grounded presence to the love-poisoned antics with his portrayal of Jaques, reminiscent of Andy Warhol with a black turtleneck and thick-frame glasses. The broody character delivers the renowned "All the world's a stage" soliloquy with satisfying deadpan, following it with a touching rendition of “The Fool On The Hill” for an added layer of emotional depth.
Jennifer Lines and Scott Bellis in As You Like It. Photo by Tim Matheson
Pam Johnson’s set design is dazzling and whimsical. Panelled light boxes frame the stage, their captivating patterns of rainbow hues harmonizing with the cast's renditions of the Fab Four. As the play transitions from the bustling city to the serene forest, the boxing ring is swiftly disassembled to create space for the picturesque landscapes of the Okanagan, complete with lush apple trees and vibrant flowers. Carmen Alatorre’s costumes transition alongside these settings easily, artfully blending exaggerated elements with stylish pizzazz, drawing inspiration from era-specific icons like Janis Joplin, Jimi Hendrix, and Elton John.
Set in the vibrant backdrop of the 1960s and its psychedelic countercultural movement, the play proposes a compelling stage for Shakespeare’s timeless ruminations on desire, fear, and power. In line with the original's lighthearted and self-effacing tone, there are moments when the world-famous lyrics of the British quartet are cleverly employed to mirror the innocence and romantic longing of its characters (“I Want to Hold Your Hand”, “She Loves You”). As the adaptation unfolds, the use of the Beatles soundtrack takes on a more sincere tone, drawing from their more mature catalogue to enhance the pastoral quality and idealistic portrayal of love in the text (“Across the Universe”, “All You Need is Love”).
Favouring laughs and a break-neck rhythm that not only keeps the momentum going but also invites the audience to join in the fun, As You Like It provides an entertaining experience for enthusiasts of Shakespeare, fans of the Beatles, and anyone curious to find out how well the two pair together.
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