This song has been stuck in my head throughout the merry month of May, ever since I spent a charmed afternoon watching a matinee performance of As You Like It at Corpus Christie College, co-directed by John Retallack and Renata Allen of the Oxford Playmaker and performed as part of the college’s 500th-anniversary celebrations. I had gone there expecting to watch a students’ play and came away enriched by a remarkable experience of great theatre.
The play was set around multiple locations around the college. The audience followed the scenes at the garden, the cloister, a cosy auditorium set up as the Forest of Arden, the college chapel and the hall. The cast consisted entirely of students and staff, and yet the play was nothing less than professional. Each actor lived their role on the stage as they emoted, fought, fell in love, fainted, philosophised, wooed, teased, hunted, dined, played the fool, sang and danced through the play. Orlando’s frustration over his life at the beginning of the play came through as earnestly as his devotion to his lady-love in the later scenes, as did Oliver’s cruelty and subsequent transformation.
Both Rosalind and Celia had immense stage presence as well as the chemistry of devoted cousins whose lively dialogue was at the heart of the story. Touchstone was the star of the show, stealing every scene with her exuberant presence, whether it was grudgingly accompanying the cousins to the forest, leading the audience (sometimes literally) to the next scene, wooing an equally brilliant Audrey or kicking the simpleton William off the stage in a sequence of comic dance steps. The actors from amongst the staff were as effective – the genial Senior Duke and the wicked Duke Frederick, the devoted Adam, and honest Corin could not have been any better.
All five songs set to music by Howard Goodall were rendered melodiously. Amiens cast a spell on the audience with her songs that invoked both the pastoral setting and the philosophy of the simple life. Every aspect of the play came together perfectly – the idyllic settings of Corpus Christie in spring, the lilting music, and the talented cast. The fourth wall was pushed aside regularly and deliberately to include the audience, as characteristic of the Bard’s comedies.
A very few minor quibbles. Rosalind and Celia batting their eyelashes to convey that they were falling in love appeared artificial, for the actors are naturally good without the need for histrionics. Jacques delivered his much-celebrated lines beautifully but he was too lively, without the melancholy that marked the original character. Orlando could have attacked the Duke’s table brandishing a sword rather than a gun. But overall it was a magical performance which took the audience back in time to the Bard’s own theatre.
On the way to the play, I was reading my textbook in which Professor Waugh elaborates on how ‘‘all the world is not of course a stage’ and ‘the crucial ways in which it isn’t’’ (Waugh, P.4). But the play restored a gentler, simpler world on the stage. A world in which life was lucidly defined in black and white and despite the Bard’s caution that ‘most friendship is feigning, most loving mere folly’, people still believed in friendship, true love, and happy endings. The effect was rather overwhelming. When the play concluded with drinks and cheers to Corpus Christi, I wanted, like the others in the audience to congratulate the cast, to greet the Professor whose guidance was visible throughout the performance and hang out with my classmates in the audience. Instead I left quietly, unwilling to break the spell around me, hoping to hold on to the enchantment for a few more hours before the grey post-postmodernism of real life took over.