Five-year-old First Folio Shakespeare Festival continues to grow both artistically and commercially under artistic director Alison C. Vesely and producer David Rice. The company is not yet presenting great Shakespeare at its Oak Brook home, but its consistently solid productions and slowly expanding repertory are drawing larger audiences each year. The Peabody Estate, within the Mayslake Forest Preserve, is a bit of a haul for city dwellers (especially on a heavy-traffic weeknight), but is a beautiful and relaxing setting for a picnic-and-play evening.
As You Like It is one of Shakespeare’s most popular romantic comedies, presented by First Folio in a straight-forward non-concept version, vaguely set in the 17th century and judiciously edited to a pleasant 2:40 running time (including intermission). As directed by Vesely, the text is very clearly spoken and pointed, and emotions broadly played; a suitable technique for open air Shakespeare, where subtleties generally are lost. But words turn to mud when the troupe speeds up, which happens most often in the low comedy scenes. Even Alan Ball, an otherwise capable and amusing Touchstone, occasionally falls victim to the speed trap. It’s very American to try to make these scenes funny for modern audiences by playing them forced and fast, and it NEVER EVER works. Ya’ gotta’ slow ’em down, and let the comedy come from character and the moment, not from manic energy.
The non-comic leads are more consistently successful, especially the Rosalind of Anne Noble Massey and the Orlando of Joe Lehman, both handsome, wide-eyed (especially Massey) and winningly fresh in their love. They are given support with depth by Kelly Anne Clark as Celia and veteran Neil Friedman doubling as good Duke Senior and nefarious Duke Frederick. Kevin McKillip is very young for Jaques, the melancholy philosopher, which gives the character an unusual twist. His lithe rendition of the “Seven Ages of Man” speech is excellent. Collectively, these are performances refreshingly free of affectation.
Scenic designer Christopher Jensen emphasizes the play’s opening French court scenes with fleur-de-lis banners, which are removed to reveal a curious bright green Arden Forest of giant leaves and bullrushes, and tree trunks that—clearly—are castle battlements left over from this season’s earlier Macbeth. The design is functional but ignores the genuine, woodsy setting of the Peabody Estate. Vicky Strei’s costumes are colorful and suggestive of another time, place and culture although—strictly speaking—not period accurate to any nation or century. Composer Michael Keefe’s lovely musical flourishes are well sung by Brian J. McCartney, Tempe Thomas, Susan Wiltrakis and Karl Sean Hamilton.