OGDEN — Shakespeare is no stranger to Utah. From the popularity down south to productions across the state, one could see a production just about anytime they wanted. However, to get the news that a company called Ogden Shakespeare Festival would be bringing their inaugural production of As You Like It to my neck of the woods, I was ready and waiting to see what would be 15 minutes away rather than a four hour drive.
Held at the Ogden Amphitheater on historic 25th Street, while the weather was rather a bit too hot for my chubby little Norwegian body, the concessions provided were helpful and eventually the sun went down and I always carry a fan in my bag so we were ok. Director of both this new festival and this production Jennifer Hughes got up at the beginning and encouraged audience members to feel free to cheer, applaud, boo, and also move around if we got too warm or uncomfortable. I appreciated the allowances made and the casual feel.
Hughes and team had decided to set the production in the 1960s, which seems to be a popular timing for Shakespearean tales in the modern era. Looking at Hughes’s director’s note and program set up, I appreciated the correlation between the societal changes seen in the 60s, the changes we are seeing today, and some of the plotlines of the play. It is these choices that lead to more interesting production value than a simple 60’s costumes are cool.
Which, 60s costumes are cool, and costume designer Genine Steed had a great deal of fun with the options. Some of the best were Touchstone’s costume, played jovially by Andrew Barrett Watson, whose colorful robe was playful and had interesting cuts. I also enjoyed the starting costume of Rosalind, played by Abigail Ford, and how they changed it up when she became Ganymede in a way that was unexpected and playful. I could point out each costume because it was more interesting and jovial than expected.
As for the players themselves, I first want to point out the sheer energy and style of Natalie Lichfield as Celia. My favorite part of watching Lichfield was her facial expressions. When she was listening to another character tell a story, she did not have to utter a word and you could tell what was on her mind by what was written on her face. And when she was bringing one of her own monologues to the front, the expressions added almost more than the words. This combined so well with the way she and Ford played against each other as cousins who were trying to watch out for each other in matters of life and love. Ford for her part was equally mischievous and sentimental in her ploy to confuse poor Orlando, played by George Michael Edwards III. Edwards portrayed the way of the enamored man with such ease that it was almost adorable, and please let it be clear that I am in no way a romantic.
Photo credit Kara Jensen Photography
Photo credit Kara Jensen Photography
Many of the other players, such as the troupe that follows Jaques, played by Syd Vance, were delightful. One thing that I found refreshing was the lack of microphone amplification. Without the distraction of sound issues, the sound of this show was fantastic. The minstrel, played by Andrew Hammer, was such a wonderful addition to this show. Hammer came on stage with a guitar and played both songs with strong audience recognition (we all may have started singing along with Blowing in The Wind) and Hammer and many others sang beautiful melodies with Shakespeare’s words.
This is one of the best things a company can do when producing Shakespeare. Because they have been in the public domain for so long, the freedom to create is extensive. Finding unique melodies to the verses in the show is a first-rate way to connect with someone like me who is music first, show second in my entertainment choices. Vance’s delivery of the famous All the World’s a Stage speech was remarkable, and demonstrated something I have been saying in recent reviews about directors that have been willing to think outside the box in their casting choices. This is something that is more than possible in Shakespeare, considering the history of performance.
In her opening speech Hughes spoke of the hope that Ogden Shakespeare Festival will grown into much more than just a one show wonder. The program teased of another production in March of next year. I certainly believe there is an audience in Northern Utah for interesting interpretations of the Bard.
