AS YOU LIKE IT. To 28 March.
Leicester.
AS YOU LIKE IT
by William Shakespeare.
curve To 28 March 2009.
Tue-Sat 7.30pm Mat Wed & Sat 2.15pm.
Audio-described 25 March 2.15pm (+Touch Tour).
BSL Signed 28 March2.15pm.
Post-show Discussion 24 March.
Captioned 26 March.
Runs 2hr 40min One interval.
TICKETS: 0116 242 3595.
www.curveonline.co.uk
Review: Timothy Ramsden 4 March.
A lively production; not definitive, but with a lot to like.
This is neither the most complete, nor the funniest, production of Shakespeare’s comedy. But it is pleasant, if austere. Bare boards on the wide-sweeping stage rise to form surrogate trees in Anna Fleischle’s set. There’s baked earth beneath, with no forest green, to which Jackie Shemesh adds often harsh white lighting. The only strong colour is red. This tints later scenes, where the court world injects into the forest, and reflects the hunted deer’s blood, some of it smeared across Jaques’ face as he places the dead creature’s horns on his own head. Justin Avoth’s bearded, intense character leaves no doubt he identifies with the outsider-victim.
Avoth gives detailed individuality to the Seven Ages speech, offsetting the growth of trust in a production where characters listen closely. Early on their intent is to manipulate, Orlando’s brother picking up how to use the Wrestler Charles to rid him of his brother. Munir Khairdin’s Duke Frederick listens to his daughter’s praise of her friend Rosalind, and is pained by it; he can only believe Rosalind has artfully conned Celia.
Love unlocks trust amid treachery, creating a plane beyond the lone Jaques or the motley-wearing clown Touchstone’s uncommitted relationship with Audrey. Kevork Malikyan gives his humour a downbeat professionalism; a dry Fool indeed.
In the forest Duke Ferdinand and fellow-lords throw down their daggers at Orlando’s desperate entrance; they take him seriously, but this is where kindness meets kindness. In the disguised wooing, David Ononokpono’s relaxed Orlando, thinking he’s playing a game, contrasts Tracy Ifeachor’s Rosalind, playing for real.
Her commitment’s been clear from the start, where she openly approaches Orlando, lightly touching him while Natalie Dew’s Celia modestly holds her veil across her face in a court culture of female modesty. As they talk of their disguises, the young women unwind their saris, creating an assertive liberty in banishment.
Performances are generally good, if not all tip-top. But Dew’s Celia and, especially, Ifeachor’s Rosalind are resplendent. They handle verse with confidence and flexibility. Supple’s direction contributes. But these are performers who illuminate their roles, making them very much as you like it.
Duke Frederick/Duke Ferdinand: Munir Khairdin.
Celia: Natalie Dew.
Rosalind: Tracy Ifeachor.
Touchstone: Kevork Malikyan.
Charles/Corin: Andrew Dennis.
Le Beau/Lord/William: T J Holmes.
Courtier/Jaques De Boys/Amiens: Abram Wilson.
Hisperia/Audrey: Becci Gemmell.
Gentlewoman/Phoebe: Yasmin Bodalbhai.
Adam/Sir Oliver Martext: Louis Mahoney.
Orlando: David Ononokpono.
Oliver: Ery Nzaramba.
Dennis/Silvius: Stavros Demetraki.
Jaques: Justin Avoth.
Musician: Tiken Singh.
Director: Tim Supple.
Designer: Anna Fleischle.
Lighting: Jackie Shemesh.
Sound: Andy Pink.
Composers: Ashwin Srinivasan, Nitin Sawhney.
Yoga: Andrew Hall.
Voice: George Richmond Scott.
Wrestling: Robbie Brookside.
Dance: Melly Still.
2009-03-09 17:14:53