The Royal Shakespeare Company’s recent all-male production of *As You Like It* in Stratford-upon-Avon faced a significant technical malfunction during its opening night, yet ultimately delivered a compelling interpretation of Shakespeare’s comedy. The show experienced a mechanical failure just as Act I concluded, when a portion of the set—a wall designed to rise and reveal the Forest of Arden—stalled mid-motion. After a prolonged pause and efforts from the stage crew, the set was manually lifted, allowing the performance to continue.
Directed by co-artistic director Daniel Evans, this staging features an all-male cast that re-explores Shakespearean traditions, emphasizing themes of gender fluidity and cross-dressing inherent in the play. Jonathan Groff portrayed Rosalind, who escapes a hostile court alongside her cousin Celia, played by Fisayo Akinade, and the lovestruck Orlando, portrayed by Elliot Barnes-Worrell. The production’s visual tone contrasted sharply between the bleak, monochromatic court and the vibrant, naturalistic Forest of Arden.
The court is depicted as a cold, distorted realm reminiscent of a chessboard—its austere atmosphere marked by unsettling elements such as servants wearing white-rabbit masks and the Duke, played by Gary Wilmot, moving with an eerie, bishop-like presence. Against this backdrop, the journey to the forest promises liberation, underscored by choral music that echoes the characters’ yearning for freedom.
Evans’s all-male company infuses the comedy with a softer, more affectionate sensibility. The habitual sharpness and sometimes biting humor of the play are tempered by warm camaraderie among the cast, who frequently break into close-harmony singing. Their vocal performances, featuring high countertenor parts inspired by Welsh song traditions, contribute to the production’s unique tonal blend. Actors approach gender roles variably, with some fully embodying their female characters while others adopt a pantomime style, creating a playful and inclusive dynamic.
Groff’s Rosalind, in particular, is noted for bringing a joyful and tender energy to the role, both in moments of wit and genuine affection. The relationship between Rosalind and Celia emerges as a central emotional axis, with Akinade’s Celia offering a wry, grounded counterpoint to Rosalind’s exuberance. This nuanced interplay highlights the complexity of friendship and gender identity within the play.
Once the set malfunction was resolved, the depiction of the Forest of Arden captivated the audience with a sunlit, mossy hillside created through the collaborative efforts of set designer Anisha Fields, sound designer Paul Groothuis, and lighting designer Ryan Day. It provided a dreamlike, peaceful setting that allowed the characters to shed disguise and explore their true selves.
Notable moments included a four-way love confession involving Edward Judge as Silvius, Tim Preston as Phoebe, Groff’s Rosalind, and Barnes-Worrell’s Orlando, showcasing the tangled romantic entanglements central to the narrative. The production’s conclusion featured a measured celebration of four marriages, with the cast performing a pavane and sharing joyous embraces in a scene that underscored themes of love and acceptance.
Despite the initial technical setback, the production demonstrated a cohesive and spirited ensemble, blending Shakespeare’s original text with inventive staging and music to offer a fresh perspective on a classic comedy.