As You Like It

The Director’s Notes
Directors are often transparent in their choice of plays to direct. While it is true that I chose As You Like It because I wanted students to have the opportunity to cut their acting teeth on the challenges and rewards of Shakespearean language and gorgeous metaphors, it is more true to say that I chose As You Like It because it is about love; not just romantic “boy meets girl, they fall for each other and get married” kind of love, but many kinds of love. Shakespeare squeezes them all in -- the mad passionate googly-eyed and ever deepening love of Rosalind and Orlando, the torturous unrequited naive love of Silvius for Phebe, the generous self sacrificing love of Adam for Orlando, the enduring faithful love between cousins Rosalind and Celia, the prodigal renewing love of separated brothers, the loyal sustaining love of friends who follow the banished duke into exile, the descent into the garden of earthly love for Touchstone, and the continuing climb in search of spiritual love and enlightenment for Jaques. There is no love stone unturned.

All the world’s a stage... and one man in his time plays many parts. (Jaques Act III) Shakespeare points out that our life roles are not fixed, but change with our circumstances, often when we least expect it. The cruel Duke Frederick and the evil, scheming Oliver, don’t know why they hate their brothers yet are caught up in the glitz and greed of court life, playing out the ugly roles of oppressors. When each enters the Forest of Arden they find love and contentment and are able to shed their tyrannical masks. Rosalind assumes a male mask for protection, then chooses to take charge of the “role” she has been forced to play because of banishment. Dressed as a boy she explores the possibilities of maleness, leading, teasing out and observing others as they deal with her as “young Master Ganymeade”. Her love for Orlando grows as he reveals the depth of his faithfulness to Rosalind.

...these couples are coming to the ark. Here comes a pair of very strange beasts, which in all tongues are called fools. (Jaques, Act V) Shakespeare shows us that when it comes to love, all of us will play the fool. When Cupid strikes and love takes us over, we feel quite helpless. Suddenly we either can’t speak, or we speak too much, or what we speak falls on deaf ears. Or worse, all our efforts and words are misunderstood. Lucky for us it’s a comedy and this period of discomfort is only a brief rite of passage. At the end of the play harmony is restored. Lover’s realize their deepest desires and continue on their paths, grateful for what life truly is and the gifts it brings.

How smart I was to choose As You Like It for the fall production. This wonderful company of actors, designers, stage manager, technicians and now, friends forever, each brought unique gifts of imagination, skill and kindness to the challenges of creating this production. Their committment to make it happen was tested many times and they fielded those damn capricious curve balls life throws out of nowhere, with admirable grace. Sweet are the uses of adversity. (Duke Senior, Act II )
– Jane Dibbell

An Actress at Work
Lisa Renee is a senior theatre major. She spent the past year studying at the Guildford School of Acting, an excellent conservatory near London, where she received her certificate. She has developed the role of Rosalind as her senior project. Following are her reflections about the role and about her journey as an actress:

Rosalind, as one of Shakespeare's best developed female characters, is full of contradictions. In using this as a Senior Project, I have the opportunity to explore her journey towards love and womanhood. Though many of Shakespeare's women disguise themselves as boys, Rosalind truly pushes the envelope of gender roles with her antics. The wooing game she plays with Orlando, is ironic-dressed as a boy, she has the freedom to be anything but herself! Indeed, she takes the opportunity to play out her own "female" stereotype.

Of greater impact, is Rosalind's decision to become "the man of the house." Touchstone and Celia are supportive friends, to be certain, but they miss their electric blankets within an hour out of the court. They aren't sure how life goes on without cable television. Rosalind takes over, encouraging them and driving the action.

The absence of any older women in this play is significant. It’s a man’s world. Power lines run between brothers, fathers, and shepherds. Where are the mothers? Where are Rosalind's advisors, her holy women? She is thrust into a world where she has no guide, but is compelled to lead the action herself. While playing Ganymede allows her power and freedom, Rosalind’s true strength lies in her feminine power of integration.

My education at ULV is a journey of contradictions as well. It’s true, “The more I learn, the less I know,” but that is only the beginning. Where learning challenges me to act, I must respond with perseverance. When knowledge prompts me to risk, I must do so with wisdom. Student meets world and says, “Well, this is the Forest of Arden..,” and then proceeds with courage nonetheless. For, in the words of Albert Camus, “We believe there is only one inevitability in history, the one we create.” – Lisa Renee