As You Like It at The Roundhouse

After the solemn Julius Caesar last week I was glad to see a Shakespearian comedy at the Roundhouse, the chirpy ‘As You like It’. It is a witty play that examines different kinds of love.

The strong cast seem entirely comfortable in each other’s company, and have a buzzing chemistry as an ensemble. Interactions are acute and full of delicate nuances bringing the script to life. The set is minimal, especially in the first half; a startling bright white backdrop that makes the characters' humorous expressions jump out. After the interval the auditorium, and indeed the whole building is transformed into the yearning lover Orlando’s forest, echoing with desperate pleas for fair Rosalind to find him. Visually this is very effective, and imaginatively romantic.

Johjo O’Neill is dashing as the hopeful young paramour, Orlando, he reminded me of a young Bob Dylan, with scruffy brown locks, and a mischievous glint in his eye. As you enter the theatre he stands (in character), singing to passers by, seemingly unaware of all else around him, it is a nice touch. The music within the performance is sublime, particularly from Forbes Masson as Jaques, a mad soul who wanders aimlessly with a guitar, and looks remarkably like Bill Bailey. He sings with an astoundingly beautiful falsetto voice, and I couldn’t help thinking I would like to have his melancholic refrains on my ipod. The giggling cousins are played by Mariah Gale as Celia and Katy Stephens as Rosalind. There are some charming scenes together, as they spin round each other and fall about laughing. I particularly enjoyed Gale’s performance, she is dreamy and yet speaks with great elegance.

The play is long, especially for a comedy, and began to drag towards the end... this though is perhaps the fault of writer not director, if I am allowed to criticise Shakespeare(?). Eventually all wrongs are righted, and all rejoice, rather too enthusiastically I thought: they all looked a bit silly. Thankfully the rest of the show is rather more convincing and enjoyable.

As You Like It continues until 5 February 2011, book tickets here.

The RSC's Julius Caesar at The Roundhouse

The last time I was at The Roundhouse, I was singing my heart out in my childhood choir; I was only 14 or 15 years old. I can recall the damp and musty atmosphere of the great circular space, as we all stood in formation ready to sing. That was a long time ago and the hall has been transformed since becoming the London home of the Royal Shakespeare Company for the current ten week season. On the press night of Julius Caesar the place was full of vitality, an audience of great theatre lovers all milling about intrigued by the latest Shakespearean offering. I was directed to brilliant stalls seats and immediately felt a sense of involvement in the drama. Elevated aisles run through the audience and other nearby passageways suggested more routes for the actors to use. I noticed gaps left open on the balconies too, ready for action.

Lucy Bailey directs this explosive new production of Julius Caesar, a tale of politics and passion. The play certainly thrilled the audience, who seemed to relish in the gore. Fake blood is used in abundance, so much so that some of the audience members around me seemed to get splattered in the stuff, that’s the punishment you get for being able to afford the pricier, stalls seats I suppose. Full on violence is introduced from the start - Romulus and Remus are engaged in an aggressively physical fight to the death. Bailey certainly doesn’t shy away from this bold element of the text, it's similar in style to her production of Macbeth at the Globe.

I am sure the use of film and video will cause a stir with some critics. Large rectangular blocks are used to show projected moving film, the vision of designer Bill Dudley (Bailey’s partner). The more frantic crowd sequences are, at times distracting, but on the whole the concept is highly stimulating and gives the stage an added depth and excitement. Julius Caesar is a difficult play to stage, but this production uses the challenges to its advantage.

There is real concentration from the male strong cast, some of their angry faces look possessed at times, and with my seats being close to the aisle I could feel their wrath as they ran past terrifyingly close. Sam Troughton is less animalistic than his fellow conspirators, and has a thoughtful glint in his eye. He commands attention on stage, but more as a philosopher than fighter. John Mackay towers above him in height, but is less impressive as conniving Cassius, and I found him eventually quite irritating to watch. Darrell D’Silva is brilliant as Mark Antony, strong in stature and voice. Greg Hicks is unusually restrained as Caesar, his expression is sometimes awkward but is enjoyable to watch nonetheless. The poor man deals very well with being bludgeoned to death, in a rather complex fight scene!

The play itself is not one of my favourite Shakespeares, with the protagonist dead by the interval there is little to look forward to in the second half. However with Bailey’s powerful vision, this Julius Caesar becomes quite enthralling.

Julius Caesar continues until 5 February 2011, book tickets here.