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Orlando (Jack Laskey) and Rosalind (Naomi Frederick) in As You Like It at Shakespeare's Globe

On the banks of the Thames, in times where loss of faith in politics and economics raise questions on contemporary civilisation, comes a tale that seeks sanctity in simplicity of habitat and human desire. As You Like It begins within the Court, presided over by Duke Frederick who has usurped the throne from his brother, Duke Senior, now banished. Meanwhile, two other, more youthful brothers, Oliver and Orlando dispute their late father’s inheritance. Although Oliver is the eldest and therefore commands the purse, and Duke Frederick presides over the Court, their power over their brethren, driven by greed and jealousy, will inevitably prove futile within the Forest of Arden.

Although one of Shakespeare’s most frequently revived and celebrated of comedies, it is the play’s themes of bitter rivalry and betrayal that initially prevail. A riveting wrestling match between a slight Orlando (Jack Laskey) and a towering Charles (Sean Kearns) is masterfully choreographed by Kevin McCurdy. It invades the yard, forcing the groundlings to the ringside, cleverly endearing both them and Rosalind (Naomi Frederick) to the bravery of the underdog Orlando. Upon her presentation of a victory necklace to him, the audience revels in his cringe-worthy attempts at expressing his immediate affection for her. Mr. Laskey stutters and pauses, utters and retracts, perfectly failing in his courtship; for if he were to succeed, the misadventure would all but end before it had begun.

Upon departure from the court it is the satirists who rule the roost. Touchstone (Dominic Rowan) nimbly offers witty observations of the base pastoral way of life and Jaques (Tim McMullan), sarcastically lampoons the restrictions of authority and tyranny. Between them they ignite the friction between the differing ways of life, extracting humour from every line and beautifully executed pause. “God be with you, you talk in blank verse” Jaques dryly comments to Orlando, cleverly highlighting his pompous adherence to civilised rules, and Touchstone mimics Rosalind’s reading of the love letters rhyming: “trouser lining, Rosalind”. Throughout, they both manage to remain immensely lovable whilst being deliciously cruel. To witness these two inspired comic performances is worth the entrance fee alone.

Naomi Frederick embodies the guise of the young gentleman Gannymeade almost more convincingly than she does Rosalind. She conveys boyish charm with subtle shifts in physicality and voice, and of course the odd discreet thigh slap. It is a true delight to watch as she cheekily manipulates Orlando, teasing words of love, intended for her, from his lips. Her total indulgence in the disguise becomes more an exorcism of the gender status quo than a necessity of evasion. However, her casual instruction to “sell when you can, you are not for all market” is a reminder her lessons of love are not solely aimed at naive men.

It is nearly impossible to fault this impeccably executed piece of Theatre. Even the less plausible coupling of drippy Silvius (Michael Benz) and teasing Phebe (Jade Williams) maximises the whimsical potential.

Audibility can be a problem at the Globe, but in this instance every performer, bar possibly a weak and elderly Adam (Trevor Martin), articulates and projects beyond necessity. The occasional plane overhead intruded upon the suspension of disbelief, yet a timely call from a crow as Orlando is banished from Court ominously complimented the moment.

The young Thea Sharrock is clearly in confident control of her art with every performance and detail being meticulously attended to. With two artistic directorships already under her belt, she is clearly well on the way to becoming one of the great Directors of modern theatre.

The climactic traditional jig has the audience in rapture, with a modern twist it smacks of Baz Lurman’s Romeo and Juliet and Gil Dunger’s 10 Things I Hate About You. Naomi Frederick delivers the Epilogue with delicate reason, pitching the summary with objectivity and emotional intensity in equal measure.

Laced with more than a hint of magic, an immensely enjoyable alfresco evening is to be had on the Southbank.

Rosalind (Naomi Frederick) and Celia (Laura Rogers) in As You Like It at Shakespeare's Globe

Photo by John Tramper