I was a bit shocked when I walked into the Olivier to find the stage laid out as a cramped modern office. As You Like It?! I still wasn’t convinced during the first few scenes, but from the moment Lizzie Clachan’s extraordinary design transformed the stage to an impressionistic Forest of Arden, I was captivated. I’m still not sure why we start in the offices of the de Bois family business (some sort of trading floor with staff in different uniforms suggesting different roles) but the rest of the play made perfect sense.
The key to the success of the production is the combination the Clachan’s design, Orlando Gough’s music & Carolyn Downing’s sound effects, the human sheep in Arran jumpers and superb casting and staging by Polly Findlay. It might not look like any forest you’ve ever walked through, but it feels like a magical one. People (and sheep!) weave in and out to play out scenes, seeming to appear from nowhere. The music is gorgeous, particularly the songs sung beautifully by Fra Fee and the atmospheric, wordless choruses. The sound of animals, birds and weather conditions are all-pervading. The verse speaking is outstanding and the gentle amplification (necessary given the soundscape) means you hear every word. The play has never felt more other-worldly or magical.
Ellie Kirk, covering Celia for Patsy Ferran, was terrific; word perfect and confident in such a big role. Rosalie Craig is a brilliantly boyish Rosalind / Ganymede and has great chemistry with Joe Bannister’s excellent Orlando. There’s luxury casting in the smaller roles, from Patrick Godfrey’s loyal Adam through Mark Benton’s particularly funny Touchstone, Alan Williams wise old shepherd Corin and Ken Nwosu’s charming young shepherd Silvius, to Paul Chahidi’s introspective Jaques.
This production appears to have divided people, but I thought it was one of the best I’ve seen.
Gareth's Culture and Travel Blog 
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