All You Need Is Love

As You Like It – Chicago Shakespeare Theatre

Wowza! Just…Wow! Daryl Cloran’s magnificent adaptation of one of Shakespeare’s most beloved plays is like a fresh, brand-new musical comedy that could easily play on Broadway or in the West End. This genius theatre artist has incorporated almost two dozen of the most popular tunes from the Beatles Songbook into this comedy. What’s so surprising is how perfectly the lyrics sync with the story. It’s as if the Fab Four had written these songs expressly for this comedy. The result is a newly imagined, unbelievably romantic, creatively conceived and perfectly cast and performed production. 

This is a welcome production for CST’s return to live theatre. After an eighteen month shutdown due to the coronavirus, this reopening radiates with joy and sparkles with whimsy and wonder. Mr. Cloran’s production, which he also expertly directs, is a spectacular feast for the eye and ear. He mines every shred of romance and moment of humor out of a classic that’s been around for more than 400 years! But in this delightful adaptation, the Bard’s Elizabethan love story has been updated into a groovy, psychedelic, 1960’s musical comedy—a real blast from the past—with a pop score that’ll please one and all.

Shakespeare’s sweet, pastoral comedy, thought to have been written around 1599, is one of his more frequently-performed plays and an audience favorite among professional, regional and educational theatres, alike. The story has even been adapted for radio and film, but never like this! The play boasts a large cast of memorable characters, all of whom spend most of their time disguised and romping through the forest and farming community pining for love.
The reversals of gender in this play have always intrigued critics and scholars. In Shakespeare’s time Rosalind, the leading female character, would’ve been played by a young male. As the story unfolds, the character disguises herself as a man named Ganymede. However, in a couple of scenes, Ganymede pretends to be Rosalind so that Orlando, who’s portrayed by a man, can rehearse romancing her. So we have a woman playing a man who’s pretending to be a woman. It can be little confusing, to say the least, but not in Daryl Cloran’s exciting, easy to understand production. He’s also cast some exceptional female actors to play a couple of the male roles: the melancholy Jacques (a sensational Deborah Hay, especially in her number “I Am the Walrus”) and the wise shepherd, Corin (played by the always reliable and insanely funny Nancy Voigts).

Rosalind is soundly played by Lakeisha Renee. Her energy and enthusiasm are contagious, especially when paired with the always delightful and effervescent Melanie Brezill, as her cousin and best friend, Celia. Upon being smitten by Orlando in the wrestling ring, the ladies sing “We Can Work It Out.” Because he’s so paranoid, the ladies are banished from the kingdom by the evil Duke Frederick, their uncle and father, respectively. He’s played with despicable relish by Kevin Gudahl. In an about face, Gudahl also gently portrays his kind, benevolent brother, Duke Senior, who’s also been banished to the Forest of Arden. To make sure they’re able to travel safely, Rosalind butches it up in male drag, calling herself Ganymede, while Celia simply disguises herself as a poor, peasant girl called Aliena. They coax the wild, goodnatured Touchstone, the court fool and Wrestling Emcee, to accompany them and carry all their luggage. He’s portrayed by the comically gifted and irrepressible Kayvon Khoshkam, making his much-welcome debut in Chicago. The actor’s ad libs are spot on and truly hilarious.

A Chicago favorite, the hardy, handsome and multitalented Liam Quealy returns to CST where he’s superb as Orlando. A skilled actor, Mr. Quealy is also a true triple-threat, as he’s proven in so many Chicagoland musicals. In this hip, unorthodox version of the comedy, Liam enchants the audience with such Beatles hits as “I Want To Hold Your Hand,” “Eight Days a Week” and “Can’t Buy Me Love” (sung with Rosalind); “Help” (performed with the rest of the company); his solo number “Do You Want to Know a Secret;” and then leads the cast in an eleventh hour, “Here Comes the Sun,” and the exuberant finale, “All You Need is Love.” 

Like most of the Bard’s plays, this one is filled with subplots. There’s Touchstone and his idyllic fascination with a simple, but passionate farm girl named Audrey. She’s played with joy and jocularity by Lachrisa Grandberry. The two share the comedic duet, “When I’m Sixty-Four.” Another storyline involves a pair of amorous shepherds. Lovely Phoebe, played with wit, wild abandon and powerful vocals (“Something”) by yet another Chicago favorite, Heidi Kettenring, is being pursued by her hilarious wooer, Silvius, portrayed with broad humor by Michael Dashefsky. His renditions of “I Saw Her Standing There” and “Love Me Do” are quite funny, as is the entire group’s powerful “Got to Get You Into My Life.”

This entire company is terrific. Exceptional performances are also found in Steven Pringle’s aging manservant and custodian, Adam; Tony Carter’s fine portrayal of Oliver, Orlando’s nasty older brother who makes an abrupt about-face when he discovers love; Austin Eckert’s commanding performance as Charles, a champion wrestler, and as Amiens, a forest lord and musician; Kieran McCabe, who nicely plays William, Jacques de Boys and another forest lord and musician; Adam Wesley Brown as Danny O’Leary, a rough and tough Irish wrestling competitor, as well as the god Hymen and a versatile forest lord and musician; and likable, young Kurt Schweitz, a multitalented artist, who is a sensational musician, singer and wrestler.

Daryl Cloran is supported by a crew of talented technical artists. Music supervisor Ben Elliott and sound designers Owen Hutchinson and Peter McBoyle make this show sing, along with some expert verse coaching by Larry Yando. Funkadelic costumes, wigs and hair designs come courtesy of the brilliant Carmen Alatorre and Richard Jarvie. Scenic designer Pam Johnson has created a versatile set that begins as a funky wrestling ring and magically transforms before our eyes into a forest, complete with an actual pond. Gerald King’s lighting design enhances every element of the production and Jonathan Hawley Purvis’ movement and fight choreography keep this show moving.

This is an event that really should not be missed. Daryl Cloran’s adaptation and lively production is loads of fun for the entire family. Besides a cast of gifted actor/singers the play is big on comedy, romance, action and features a lovely, lilting score by the Beatles that’ll keep toes tapping and bodies swaying. By the final curtain, audiences will surely agree that “All You Need is Love.” 

Highly Recommended

Reviewed by Colin Douglas

Presented October 15-November 21  by Chicago Shakespeare Theatre in the Courtyard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.