©Marc Brenner

You won’t find a better practitioner of the art of gender-blind casting than the Royal Shakespeare Company, but in Daniel Evans’ new production of As You Like It, they’ve really given it a new twist. This all-male production hasn’t changed Rosalind to Ross or Celia to Cecil, choosing to keep the female roles as female and largely removing any sense of “female impersonation” from the characterisations. By largely playing it – if you’ll excuse the expression – straight – there is no element of what we think of as drag in this production; it simply has male actors playing female roles, much as would have happened back in Shakespeare’s time. The result is a fresh, positive, emotional production that feels authentic, honest and very, very funny.

©Marc Brenner

Beautifully acted throughout, there are no weak links within the cast, and all the technical elements are superb too. Fantastic set design from Anisha Fields creates a stark contrast between the monochrome harshness of Act One’s court – a blank white set populated by grim men in black suits – to be followed by the unruly, natural countryside of Arden, where shepherds lurk behind tufts of grass and although financial poverty is rife, it can’t erode the richness of emotional support. Ryan Day’s excellent lighting creates some very striking effects to accompany the ruthlessness of Duke Frederick’s rule, which is then softened as we enter Duke Senior’s relaxed, bucolic environment.

©Marc Brenner

I must confess, I often regard the incidental music in productions as something akin to ignorable wallpaper, but in this instance that couldn’t be further from the truth. The music is stunning. Evans has transported Arden to rural Wales, where music seems to evolve naturally from the earth, using tradition Welsh hymns, sung in Welsh; and the blend of the voices is emotional and entrancing, the kind of music that can truly soothe a savage breast. Often the music and the action work side by side; among the show’s more memorable and emotional moments is the singing that accompanies the scene where old Adam shares food and drink kindly shared by the Lords of Arden. Stirring and powerful, it’s totally respectful of the old man and gentle in the support provided to him. It’s not all Bread of Heaven though; in one cheeky scene the cast recreate Raye’s 2025 hit Where is my Husband – and not only is it hilarious but it also integrates perfectly with the rest of the play.

©Marc Brenner

And that’s the key to this production. It’s not afraid to take some risks and break the rules whilst still being remarkably faithful to and respectful of the original text. Jonathan Groff and Fisayo Akinade play Rosalind and Celia in as traditional way as possible, their girlish playfulness balanced with the injustice of their banishment and Rosalind’s determination to make Orlando work hard in order to secure her hand. For perhaps obvious reasons, there’s probably never been a more boyish Rosalind than Mr Groff’s, which only makes his regular scenes as Ganymede more believable. Only after a delightful moment of physical comedy when Orlando’s brother Oliver – a terrific supporting performance by Caleb Roberts – discovers that Ganymede might be – shall we say – womanlier than first realised, does the production allow itself a little, very subtle, admission that this boy/girl/boy game is more nuanced than at first sight.

©Marc Brenner

The result of all this is that it is genuinely one of the funniest productions of this play I’ve ever seen. Once the scene shifts to Arden, the combination of Messrs Groff and Akinade works as a brilliant comedy double act, with Celia playing the straight man/woman/man to Rosalind’s natural stage dominance. With no attempt by Mr Groff to disguise his American accent, it’s another way in which the character of Rosalind stands out from the crowd; never referred to until late in the play when Orlando refers to her accent and a slight rewrite of the original provides the perfect response. Mr Akinade meanwhile excels with moments of amazing physical comedy but also gives us a superb understanding of how Celia resents becoming invisible as she is forced to withdraw from the action to let Rosalind and Orlando’s story play out. And both Groff and Akinade are remarkable at portraying that special moment of love at first sight; both funny and endearing at the same time.

©Marc Brenner

Elsewhere, a pause inserted here and an unexpected glance added there, all go to create something very credible out of what is, on paper at least, quite an unlikely story scenario. Just an involuntary sound can have a huge impact: when Jaques commences his famous speech with the words “All the world’s a stage” (a remarkably insightful performance by Richard McCabe), the eternally entertaining Gary Wilmot as the Duke utters an “ah!” as if to say, what a fascinating concept I’m really interested to hear what you’re going to say. A simple idea that works incredibly well.

©Marc Brenner

The production also benefits from a superb performance by Elliot Barnes-Worrell as Orlando; perfect clear delivery from an actor who understands the nuance behind every line. Gareth Snook’s performance in the double roles of Adam and Audrey is doubly impressive; the first conveying the noble frailty of the old retainer, and the second full of cheekiness and ribaldry. You know that when Audrey and Greg Haiste’s Touchstone tie the knot they’re going to have a fantastic season of sex and laughter and then swiftly swipe left on the relationship.

©Marc Brenner

There’s excellent support from Giles Cooper’s unexpectedly affable Le Beau, Rhys Parry Jones’ Corin and Hymen, and Tim Preston’s hilariously buttoned up Phoebe; but the entire cast is without fault, and everyone contributes to make this show the success it undoubtedly is.

It’s not often that a revival of a Shakespearean comedy is a must-see – but Daniel Evans’ production of As You Like It should be seen far and wide and unreservedly deserves a transfer.

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