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AS YOU LIKE IT: PERFORMANCE NOTES

I directed this version of As You Like It with a group of ninth graders in 1999. The play is ideal for beginner actors, as it allows them to enter a romantic new world full of colorful characters and beguiling language.

These stagings do not require elaborate set pieces, and music (played on a boom box in this production) can set the tone quite well. If a cast member can play a classical instrumental snippet live, then so much the better. I am continually impressed with the power of music to set a mood.

Use simple staging to introduce characters and illustrate major plot points. This theatrical device underscores my belief that in order for audiences to “get” Shakespeare, they must first “get” the story. This version of As You Like It uses music and tableaux to bring viewers into the world of the play. Careful blocking is a good tool for illustrating plot and character as well as eliciting emotion from performers. Novice actors often hold back on their responses, not wishing to embarrass themselves. When the body illustrates an extreme emotion it is sometimes easier for the voice and facial expressions to follow suit. Tableaux are an effective rehearsal tool, useful for exploring simple visual statements that illustrate the text, clarify plot points, and illuminate relationships.

In this production of As You Like It, the young actor playing Duke Senior had a strong physical presence and a powerful voice, and he had a knack for emphasizing certain words to achieve maximum effect. Actors should be encouraged to experiment with which words (or syllables) to stress in a speech, since changes in emphasis can elicit varying meanings. This shows players that how the words are spoken greatly affects their meaning and interpretation.

Simple costume and prop choices help actors color their roles. Duke Senior had a cape that he threw over his shoulder dramatically before striding off stage. If an actor has skills or training in dance or other disciplines, try to incorporate them into the play. The best ideas and pieces of stage business often come directly from the actors and their unique talents.

Look for staging patterns that can be repeated to give rhythms to a production, like motifs in a piece of music. As with other aspects of speech and movement, physical distance between characters on stage speaks volumes about their relationship. By combining Shakespeare’s great language with our actors’ minds, bodies, and spirits, we create together a living, breathing work of art on stage.

AS YOU LIKE IT: ACT II, SCENES I AND VII

This excerpt (Act II, Scenes I and VII) is set in a forest, so prerecorded bird whistles provide a nice acoustic scene setting. There are two stools covered in brown wrapping paper to look like stumps, and a few leaves and stones scattered about the stage complete the set dressing. There is something satisfying about a minimalist approach to scenic design. It allows actors and audience to fill in the picture with Shakespeare’s words and their imagination. My experience has been shaped by nineteen years of participation in a student festival; eight schools a day tread the boards at the Folger Library, leaving little time for elaborate scenery.

If your situation differs, and you have the resources and inclination to spend more time on scenic design, this too can be satisfying, especially if there are members of your group who can contribute creatively. I prefer a scaled-down approach, but I acknowledge my own tastes and the uniqueness of my venue. I encourage you to explore every aspect of the spectacle that will enhance your theatrical experience. I do urge directors to continually return to Shakespeare’s rich text as their primary dramatic source.

On the line “sermons in stones,” Duke Senior picks up a stone, puts it to his ear like a seashell, and passes it on to the other group members, who likewise raise it to their ears to listen. The final actor shrugs and places the stone back down on the stage. When Jaques enters, he gives Senior a special forest handshake (of the actor’s invention). On Jaques’s famous “Seven Ages of Man” speech, he puts his hand on each of his three seated comrades’ shoulders during each of his final three phrases: “Sans teeth (first comrade), sans eyes (second comrade), sans taste (third comrade), sans everything (Jaques alone).” These characters are “brothers in exile,” so it is nice to have some group sequences to illustrate their unity. This staging serves to reiterate the inclusive nature of the speech. This journey from birth to death is one we all share. After “sans everything,” all four men bow their heads in silence, which gets a laugh.

The fine line between comedy and tragedy fascinates me. That unison head bowing could just as easily have resulted in a thoughtful moment of silence from the audience as they absorbed the fact of our own mortality, but this adolescent audience chose laughter as a response. The key is for the actors to play it straight. Perhaps the sincerity of their somber physical response to Jaques’s speech was what tickled the audience’s funny bone. Regarding the timing of the speech, it is important to pause after “sans everything.” It is during that pause that the players solemnly digest Jaques’s weighty words, and where the laughter has a chance to emerge. When blocking this scene I did not predict audience laughter, but I was happy it occurred. There are other moments (such as Juliet’s death in Romeo and Juliet) that do not invite laughter, and if it occurs, we must study the cause to prevent it in the future. Likewise, when audiences grace us with their laughter, we should try to replicate the circumstances. It is not an exact science but it is worthy of study! Make sure to have at least one rehearsal in front of an audience to gauge potential responses.

When Orlando enters and encounters the exiled lords, his fear and bravado stand in contrast to the mellowness of the peacefully snacking forest-dwellers. This is a funny moment because the contrast between Orlando and the foresters is evident in their body language. Whereas Orlando spins about suspiciously and brandishes his sword, the forest men gnaw languidly on their food and pay him no mind.

This scene in our performance ended on a rousing note, with the band of foresters clapping out a rhythm and Jaques lagging behind the rest, busting out a few unique and personal dance moves. Personality cannot be taught, but providing a rehearsal environment of experimentation and fun can encourage its expression. After each verse, the entire group shouts out a loud “Heigh ho!” and they exit the stage with a loud and simultaneous cry of “This life is most jolly!”