A friend was telling me recently about a game a friend of his – an extremely august literary scholar – used to play. It involved admitting which Shakespeare plays you’d consign to mere oblivion. My pal said his vote would go to A Midsummer Night’s Dream (all those fairies). Others, I’m sure, would be content for The Merry Wives of Windsor to disappear into Room 101.
Myself, I’ve always had a bit of an issue with As You Like It. It contains many beautiful things – that cross-dressed wooing scene! those gentle remembrances of Marlowe! – but it’s always struck me as a play awkwardly in transition. It’s fussily Elizabethan, full of quibbling, tongue-tripping wordplay, yet seems to point forward to the shadowy Jacobeanism of Hamlet and Twelfth Night. Structurally, it’s all over the place: to paraphrase Henry Ford, just one damn thing after another. And while I’m hardly the first person of either gender to fall for Rosalind, does the doggishly dull Orlando really deserve this smartest and most self-aware of Shakespearian heroines? Surely the couple would be consulting a marriage counsellor by the time they reached the end of the aisle.
Perhaps it’s just that I’ve never experienced a production that truly worked. A particular bugbear is that I never got to see what many British audiences regard as the finest As You Like It of all time, the classic 1961 version directed by Michael Elliott and starring Vanessa Redgrave. Created in that miraculous first RSC season, it’s gone down as the production that got everything right: superb cast, playful design (Redgrave sported smock and pedal-pushers), energetic direction, and a roustabout sense of mischief. More than one person has told me that Redgrave – following in the footsteps of her father, who played Orlando opposite Edith Evans at the Old Vic in 1936 – was the greatest Rosalind of all time, no debate. Certainly she caught the critics’ eyes: describing the instant when she released her hair from underneath her boyish cap, the reviewer J.W. Lambert frothed that it “tumble[d] like a flock of goldfinches into sunshine”. The director Tony Richardson was one of many who fell in love with her on stage: they married the following year. The rest of us have had little opportunity to follow suit.
Until last night.The BBC filmed the production for TV in 1963 under Ronald Eyre’s direction, slightly tweaking the cast and relocating it from Stratford to a studio in west London, and courtesy of the splendidly energetic John Wyver – who has masterminded a season of RSC on Screen currently at the Barbican – I finally got a chance to see the restored version, alongside a cinema-full of fans. Much as it pains me to admit the fans are right, they are. This must be one of the greatest As You Like Its ever created.
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