Josie Rourke’s As You Like It performs apparently with gender and entry on the model spanking new @sohoplace
“I’ll have no husband, if you be not he”
Though I’m undecided I’ll ever forgive new theatre @sohoplace for sitting on the grave of the much-loved Astoria, it truly is a stunning intimate house, the Donmar on steroids with one thing of the aesthetic of the Bridge in there too. As You Like It marks its debut authentic manufacturing and Josie Rourke’s luxuriously solid manufacturing makes an honest case for the introduction of a brand new theatre into an already crowded West End.
Technological advances imply it’s no biggie for captions to be proven on all 4 partitions, an amazing entry resolution however one which displays the casting of two Deaf actors within the firm. Recent Strictly winner Rose Ayling-Ellis’s Celia makes use of BSL nearly completely, heightening the depth of her relationships, firstly her sisterly bond with Leah Harvey’s Rosalind after which the fast-emerging however gorgeously performed romance with Ben Wiggins’ Oliver too.
Rourke can also be saying one thing attention-grabbing about gender right here too. An inclusive firm means signifies that at each court docket and in Arden, there’s a prevailing sense of unremarked gender fluidity that feels dreamily beautiful. And most tellingly of all, Rosalind’s grand reveal is performed with none transformation again from her Ganymede persona, a way of acceptance of this id from each father and lover once more feeling so refreshing.
The incorporation of Michael Bruce’s onstage musician is an attention-grabbing one. His near-constant accompaniment can typically really feel a bit intrusive however it does enable for some moments of beautiful comedy because the characters work together with him. And Rob Jones’ design affords loads of witty surprises for this in-the-round auditorium, an autumnal heat to the forest is enhanced by Howard Harrison’s lighting.
Harvey is great as Rosalind, utilizing Ganymede as an exploration of self as a lot as disguise, their vitality great to behold as they navigate the tumult of emotion bursting forth. Alfred Enoch’s barely zany Orlando is an actual deal with as he woos with gusto, Tom Mison daddies up as an amusing Touchstone, June Watson doubles up successfully as Adam and Corin and Martha Plimpton’s superbly spoken Jaques finds actual magic within the melancholy. Just beautiful.