The Globe Theatre in London has launched a vibrant new production of William Shakespeare’s *As You Like It*, directed by Sean Holmes and Charlie Josephine, that reinscribes the classic romantic comedy with a fresh, modern energy. Running through October 25, the performance juxtaposes the play’s traditional themes of love and identity with bold staging choices and contemporary characterizations.
Set initially in elaborate 18th-century costumes inspired by the extravagance of Marie Antoinette’s era before moving into the rustic Forest of Arden, the production highlights Rosalind’s flight from her authoritarian uncle. Lola Shalam portrays Rosalind as a relatable “girl next door,” combining innocence with determination. Accompanying her is Gracie Oddie-James as Celia, her loyal yet somewhat ditsy companion.
A notable departure lies in the characterization of Orlando, typically shown as a conventionally handsome figure. Here, Josephine, who co-directs, also takes on the role, transforming Orlando into a scrawny, Cockney-voiced figure imbued with a rueful charm reminiscent of Rodney Trotter from *Only Fools and Horses*. This casting choice offers a novel approach to the romantic dynamic, emphasizing accessibility over idealized heroism.
Comic relief is richly provided by Jonnie Broadbent’s Touchstone, whose playful performance and distinctive costume—featuring a Gandhi-style loincloth and oversized coxcomb—bring spirited clarity to Shakespeare’s more complex comic passages. Complementing the actors’ work, Katie Richardson’s indie-inspired musical arrangements inject fresh vitality into the traditional “hey-nonny-no” songs.
The production also employs inventive visual elements, with an actor sketching and painting the woodland scenery live on stage, reinforcing the themes of transformation and natural spontaneity that underlie the story. Holmes and Josephine’s *As You Like It* thus underscores love’s combination of lofty ideals and physical awkwardness with buoyant humor and warmth.
In contrast, *A Slow Fire*, staged at the Jermyn Street Theatre through September 26 and penned by Simon Stephens, offers a more contemplative but less cohesive dramatic experience. Set in a post-apocalyptic lock-up, the play centers on two men who maintain hope through improvised stories of Christmases past until a gun-wielding stranger arrives. The narrative grapples with profound themes such as faith, loss, and survival but occasionally relies heavily on sentimentality, including a recurring performance of a love song by the 1940s vocal group The Ink Spots.
Directed by Rex Ryan and performed by the Irish ensemble Glass Mask, the acting is widely praised. Ross Gaynor captivates as the younger survivor, portraying innocence and longing, while Ian Toner provides a stabilizing older presence. Fionn Ó Loingsigh adds tension and ambiguity as the stranger bearing both pork sausages and a firearm. Despite the strong performances, the play's abstract framework challenges audience engagement, leaving some scenes feeling contrived.
Both productions showcase the diversity of contemporary theater in London, contrasting Shakespeare’s enduring comedic vitality with new work confronting existential questions amid crisis.