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The Cornishmam
8th July 2004
Frank Ruhmund: At the Minack
By my faith, the Mad Dogs and Englishmen Theatre Company could hardly have had a fuller house or a finer night for a fine romance than it had on Monday for its first performance of As You Like It.
Played on a stage bare but for a few windfalls and a covered piece of furniture, later unwrapped and revealed as a trestle of trees, which represents the main areas in which everything happens- the court and the Forest of Arden – it is generally a gentle interpretation of “these most strange events”.
With the players dressed in Edwardian black at the start, the costumes are so curious it is difficult to determine when it is set, not, as it happens, that it matters all that much: more modern than ancient, thankfully, there is neither doublet nor hose in sight.
It may come dangerously close to being too laid back at times, but director Ann Courtney, who also plays a commanding Celia and, for good measure, a very funny poetical Audrey, presents us with a production of Shakespeare’s pastoral comedy which is as good as it is gentle.
While some of the bite one has come to associate with these ‘Mad Dogs’ may be missing, the standard of performance is high – and the cast of eight generously and gallantly share twenty one roles slipping in and out of character with clarity and conviction.
It is perhaps invidious to mention anyone in particular in such a pleasing ensemble but Claire Worland an attractive, androgynous Rosalind, one “fathoms deep in love” who thinks so must speak is every inch “the thinking man’s crumpet”.
Stephan Drury, although not the world’s greatest wrestler, is likeable as her lover Orlando – and Nick Murray Brown as Jaques makes one believe he really can “suck melancholy out of a song as a weasel sucks eggs”, and also makes the most of his “Seven Ages” speech.
However, it is Paul Preston Mills who, as it were, is the apple of this production’s eye. A warbling answer to a stage manager’s prayer, with a “hey and a ho, and a hey nonino” he cleans and clears the set at the end of the first part of the play with the drive of a Dyson let alone a Hoover and, not content with that, tops it in the second part with a song and dance act in which he works wonders with his umbrella while possessing panache to match that of Fred Astaire or Gene Kelly. |
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As You Like It (William Shakespeare) |
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Orlando and Oliver, sons of the late Sir Roland de Boyes, clash over Orlando’s birthright and Oliver contrives to have Orlando killed in a wresting match. At the bout Orlando meets Rosalind, the niece of Duke Frederick, for the very first time.
Rosalind is banished by her suspicious uncle, and her cousin, Celia, suggests they disguise themselves and go into the forest of Arden to seek Rosalind’s exiled father. Her father, Duke Senior, is making the best of things in the forest. Warned of Oliver’s plans to murder him, Orlando also escapes into the forest of Arden with his retainer, Adam.
Rosalind, Celia and Touchstone enter the forest of Arden and there observe Silvius the lovesick shepherd. They decide to stay and buy a cottage. Orlando has not had an easy time in the forest, and in order to save a starving Adam, disrupts Duke Senior’s feast.
Rosalind discovers Orlando has been writing love poems about her, and tricks him into thinking she is a boy called Ganymede. Orlando then accepts her challenge that he can be cured of love.
A lustful Touchstone attempts to seduce Audrey the shepherdess with a dubious marriage ceremony. Rosalind is stood-up by Orlando and becomes embroiled in a love triangle with the shepherds, Phebe and Silvius. When Orlando does arrive, Rosalind and he playact at being lovers.
Silvius then brings Ganymede (Rosalind) a letter from Phebe, closely followed by Oliver, who has entered the forest in pursuit of Orlando. He has been saved from a lion by Orlando and brings Ganymede (Rosalind) a bloodied handkerchief.
Finally, Touchstone dispenses with William, a rival for Audrey’s love, and there are many promises of marriage. The marriages take place, confusion is resolved and Duke Senior’s court returns from the forest of Arden.
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Cast and Crew |
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Kevin Anderson:
Touchstone / 1 st Lord / Jacques de Boys and Adam
Nick Murray Brown:
Jaques / Duke Frederick and William
Ann Courtney:
Director / performer / Celia and Audrey
Stephan Drury:
Orlando / Oliver Martex
Paul Preston Mills:
Oliver / Amiens / Silvius / Le Beau
Mark David Nash:
Charles / Duke Senior and Corin
Rebecca Perry:
Phoebe / Servant
Claire Worland:
Rosalind
Paul Warren:
Set Design / Graphic Design
Sue Warren:
Costume
Kit Lancaster:
Production Manager
Ian Merryweather:
Stage Manager
James Payton:
Stage Manager
Stephen Kingsbury:
Composer |
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Diss Express
23rd July 2004
Basil Abbott: At the Cornwallis Country Club
This is the play where originally a boy actor played a girl who dresses as a boy but finally reappears in female attire.
It is also the William Shakespeare play which gave us: “laid on with a trowel”, “sweet are the uses of adversity”, “sermons in stones”, “thereby hangs a tale”, “under the greenwood tree”, “all the world’s a stage” and “too much of a good thing”.
Director Ann Courtney’s cast entered in Edwardian black, surrounded by the tress and greenery of The Cornwallis, near Eye.
Having just returned from the Minack Theatre in Cornwall , the actors were used to the English weather and the vocal demands of the outdoors. So the vocal delivery is both clear and audible.
Claire Worland, as Rosalind in a boyish disguise of flat cap, waistcoat and plus-fours comes over like a sparky costermonger. Her energy is matched by Orlando ’s. Stephan Drury brings a schoolboy quality to many of his characters, a mixture of bravado and flummoxed transparency.
Mark David Nash moves easily in voice and manner from the brute wrestler Charles, to the grand Duke Senior, to the rustic Corin.
A hush falls when Nick Murray Brown delivers Jacques’ great Seven Ages of Man speech, as the Shakespeare magic works.
It is a verbally and physically expressive production from Kevin Anderson’s Touchstone, complete with battered bowler and parrot face; Ann Courtney’s schoolma’amly Celia; Rebecca Parry’s countrified Phebe; and Paul Preston Mills’ delivery of the songs, which have been arranged by Stephen Kingsbury
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