Sometimes I think it’s significantly more enjoyable to be in a Shakespeare play than to watch one.
Plots and characters can be difficult to follow (particularly when actors double roles), the language can become muddled if not delivered with clear intention, and the duels and formalities of the Elizabethan era can feel a touch tedious or unconvincing for modern audiences. I do love Shakespeare – but not when it’s done poorly. Thankfully, Fingerless Theatre’s production of As You Like It was anything but. Rather, it was a delightful romp, crafted with care, joy, and inspiring talent.
Written around 1599, As You Like It is one of Shakespeare’s most popular comedies, filled with gender-bending disguises, playful trickery, and love-struck characters. Beneath the humour lies a timeless exploration of love, identity, and human folly; elements that this production embraced wholeheartedly.
Alex Kendall Robson’s hipster-inspired design concept was a fun and successful choice, realised through moustaches, suspenders, and retro costuming (designed by Josh Carter and Lily Moody). Mason jars filled with fairy lights, bunting, and live renditions of folky songs such as Little Lion Man by Mumford & Sons (sound design by David Wilson) contributed to the aesthetic. Altogether, the production had a quirky and charming vibe that felt distinctly reminiscent of the Typo-store era of 2012.
Lighting design by Holly Nesbitt was particularly effective, clearly contrasting the cold severity of the royal court with the warm, picnic-like ambience of the Forest of Arden. The production’s inviting atmosphere was also enhanced by its musical ensemble, with Hannah Buckley’s violin performance standing out as a highlight.
The cast were all very strong, delivering Shakespeare’s text with compelling energy and nuance. It was clear they were having tremendous fun on stage, which proved infectious for the audience. The company’s commitment to character – vocally, physically and intrinsically – was impressive, and Kendall Robson’s direction made the story very accessible and comedic.
Jade Fuda as Rosalind was utterly captivating. It was evident that every line had been carefully considered, with thoughtful choices that heightened both the humour and humanity of the text, especially in scenes where Rosalind (disguised as Ganymede) coaches Orlando (Pat Mandziy) on how to win Rosalind’s heart. Sonya Kerr handled her dual duchess roles with impressive clarity, offering two distinct yet equally convincing portrayals. Larissa Turton was, as always, a delight to watch, bringing playful allure and wit to the role of Celia. Meg Bennetts also stood out as both Audrey and Phebe, earning plenty of laughter from the audience with her bold characterisations. Max Fernandez commanded the stage with comic flair across his various roles while also showcasing a strong musical theatre talent. A special mention must go to Brea Macey, who fully committed to her sheep depiction, even chewing on the set’s greenery (her beautiful singing was also noteworthy).
While the production did feel slightly long in places and could perhaps have benefited from some trimming, it was undeniably entertaining, well executed, and heart-warming, and it is very much worth seeing.
