As You Like It, Folger Theatre, Washington, DC

 

The cast of As You Like It at the Folger Theatre. Photo credit: Brittany Diliberto.

Since I began writing this blog I have seen eight productions of Shakespeare’s plays: three staged by Folger Theatre and five by the Shakespeare Theatre Company (STC), as well as two adaptations/updates, one at each venue. What they have in common is this: none of them have been presented in a traditional, classical form. As much as I respect and admire directorial creativity, I have to wonder if it might be a good thing to see a Shakespeare play performed primarily in the way the original productions were staged.

Two of the seven productions were of the same play, the pastoral comedy As You Like It. STC produced it in late 2023, set in the “flower power” days of the 1960s, with a soundtrack of Beatles songs. The current production at Folger Theatre purportedly sets the play in contemporary Washington, DC. The play’s program features articles by Folger artistic director Karen Ann Daniels (the program gives her a credit “as envisioned by…”, which I don’t think I have seen before), director Timothy Douglas, dramaturg Otis Ramsey-Zöe, brief interviews with the designers, and a more substantial interview with composer Kokayi about the music choices.

Granted, I have only been in the DC area for 21 years, but I didn’t see specific DC references outside the replica of the Capitol dome on a stage curtain at the beginning of the show and a brief impersonation of the current president. The music choices may have been more specifically referencing DC (Kokayi’s interview talks about “Go-Go” as the “indigenous form of music” for DC), though I am not sure I would recognize “Go-Go” when I hear it. I can attest to this production contemporizing various aspects of the play effectively, as well as inserting several instances of actors (in character) engaging with the audience, including an extended bit with Orlando requesting assistance from the audience in composing his love poetry.

As You Like It revolves around Rosalind, the daughter of Duke Senior, who has been exiled by his brother, and her close relationship with her cousin Celia, the daughter of Duke Frederick, who sent his brother into exile. The play begins with a wrestling match where Rosalind is instantly drawn to Orlando, the outsider who unexpectedly wins the match. (It is almost as if we are seeing a cartoon version of instant attraction, with colored hearts floating between the two.)

In a fit of anger, Duke Frederick exiles Rosalind. Accompanied by Celia, the two take refuge in the forest of Arden. Rosalind disguises herself as Ganymede, a young man. With Rosalind now as Ganymede, she and Celia meet Orlando in the forest. He has been writing love poems to Rosalind and attaching them to trees in the forest. (This is very cleverly staged.) Ganymede offers to help Orlando woo his beloved, requiring him to return day after day to declare his love for Rosalind even as Rosalind is “playing” Ganymede.

Manu Kumasi as Orlando, Tsalila Brock as Rosalind, and Jefferson A. Russell as Duke Senior, with the cast of As You Like It at the Folger Theatre. Photo credit: Brittany Diliberto.

Into the mix we meet a variety of other characters: among these are a security guard, a shepherd, Orlando’s brother Ollie, the sardonic Jaques, the lovesick Phebe, and Touchstone. Touchstone acts at times almost like a narrator. Typically, he would have been the Fool. Eventually, of course, couples get together after Ganymede/Rosalind reveals her true identity to both her father and Orlando. Orlando is with Rosalind, Celia has fallen for Orlando’s brother Ollie (after another of those “cartoon swoons” of love at first sight), and Phebe (who has been desperately in love with Ganymede) realizes that Ganymede was just an illusion and ends up with the shepherd.

I should note here that this version engages in some gender-switch casting, as did STC’s production. Here, Charles (the favored wrestler at the beginning of the play) and Jaques, both written as men, are performed by a woman. In the STC production, “Dame Senior” and “Dame Frances” replaced Duke Senior and Duke Frederick.

The play’s direction is sharp. Director Timothy Douglas has been given an intriguing set (designed by Gisela Estrada) and he makes full use of its various levels, as well as the center aisle through the audience and the balconies on either side of the audience area. The Folger is an intimate theatre that lends itself to using those spaces, which I think has been the case in every production I have seen there. Costume designer Celeste Jennings makes unexpected and bold choices (some might even say outrageous), as she incorporates African influences and features lots of clashing patterns and vivid colors, creating a certain sense of whimsy. The work of choreographer Tony Thomas, lighting designer Minjoo Kim, and sound designer/lyricist Miki Vale support the director’s vision. Kokayi’s musical compositions add flavor, though I could not always understand the lyrics.

The acting is uniformly strong. Tsilala Brock is a self-assured Rosalind who centers both the play and the production as she wryly “plays” Orlando while disguised as Ganymede. Her Rosalind enjoys toying with Orlando. Manu Kumasi’s Orlando is earnest in his determination to win Rosalind, charismatically ensuring that he has the audience’s sympathy. His interchanges with the audience in composing on-the-spot rhymes demonstrate his quick wit and command of language. Jefferson A. Russell does double duty as both the volatile and viciously cruel Duke Frederick and later the much more mellow Duke Senior, especially touching when the latter sees his daughter Rosalind drop her disguise as they reconnect. Sabrina Lynne Sawyer’s Celia is both determined and delicate, fierce in her care for her cousin and often a source of reason.

As Jaques, Nikkole Salter gives his famous “All the World’s a Stage” speech, which she nails with the character’s cynicism. Raven Lorraine is very funny in her contrasting roles as the security guard and Phebe, especially as she infuses Phebe with flirtatious sassiness. Ahmad Kamal is obviously having a great deal of fun in his role as Touchstone. His role allows him to demonstrate his considerable gifts for physical comedy. Joey Collins, Terrance Fleming, and John Sygar complete the cast.

Ahmad Kamal as Touchstone in As You Like It at Folger Theatre. Photo credit: Brittany Diliberto.

The audience at the performance I caught definitely enjoyed the show. I did, too, even given my questions about the location where it occurs. I wonder if the creative team might further explore connecting the play to DC in more obvious ways. The show is a “can’t miss” for Shakespeare fans (except the purists). Performances continue through April 12.

If you’re interested, you may read my blog entry on STC’s As You Like It at https://theatregoerthoughts.blogspot.com/2023/12/as-you-like-it-shakespeare-theatre.html.