Review of ‘As You Like It’ (2026, Shakespeare’s Globe): “Boisterous production is nearly madness; and, I tell you, doesn’t deserve as well a dark house or a whip”

There comes a time in the life of every theatre critic when the journey back home isn’t accompanied by a sense of burning frustration or sadistic desire — because, for a change, you’ve genuinely enjoyed every minute of what you’ve seen. There’s no twist coming up now — in case you were expecting it. This is exactly how I feel about The Globe’s latest revival of Shakespeare’s screwball rom-com, As You Like It, whose infectious energy and vibrant reimagining earn it a position as the grand finale of the summer season.

Same story, same characters, different setting — but ever so slightly. Directors Sean Holmes and Charlie Josephine deliver a wise, interesting approach by relocating the action to a 1700s French court. Not only does it work on a comedic level (there’s something inherently amusing about effeminate noblemen wearing garish makeup and powdered wigs), but it is also a fair nod to Shakespeare’s possible allusion and inspiration when coining the Forest of Arden’s name.

A similar reading could be given to Paul Will’s straightforward yet on-point design. Blank canvases stand in the background as the only element of scenery — to be later filled with live drawings of trees taking shape as the performance progresses. Black, charcoal-like scribbles on the trunks and branches at first, followed by rolling-pin-made leaves and flowers near the end.

The value of the staging goes beyond its overflowing artistry and theatricality. It conveys meaning. With one simple move, Will encapsulates most of the play’s ethos. Frederick and his entourage’s lives are defined by emptiness and the lack of a true existence. In contrast, the countryside represents a place where good things flourish: nature, peace, happiness, and love. All pure and complicated — just like the scenery, which is admittedly a stroke of genius.

Like with any contemporary adaptation, the original playtext isn’t exempt from several new additions. The balance, however, is more than acceptable. There are no major alterations to the piece apart from some occasional remarks and musical numbers, some of which will require audience interaction. For the most part, they are justifiable and highly effective — and I wouldn’t be surprised if some of you had trouble getting the last song out of your heads.

Equal acknowledgment should be given to the company, who flaunts extraordinary comicality through their impeccable timing and innate drollery. The overall farcical tone never comes across as excessive. As such, Shakespeare’s verses are competently honoured. And consequently, a few short segments shine with poignancy as well.

Jonnie Broadbent and Peter Bourke receive a first mention in their portrayals of Touchstone and Oliver Martext, both delivered with excellent whimsicality. At the same time, Katherine Pearce delivers a mercurial, multidimensional Jacques, deservingly becoming one of the big stand-outs of the evening. Nonetheless, the highest praise goes to Lola Shalam, whose rendition of Rosalind teems with character, layering, and an organic disposition to be screamingly funny.

Quite a few would argue this is not Shakespeare at his best. Even if that’s the case, this version does bring the piece to life in its finest form. If laughter and engagement shall be the measures of a comedy’s success, this one had both in spades. It’s more accessible to general audiences, but still exhibits some of the Bard’s greatest strengths. And if all the world’s a stage, and men and women merely players, being a watcher to this production is a part nobody should turn down.

As You Like It plays at London’s Shakespeare’s Globe until 25 October. Tickets are available on the following link.

By Guillermo Nazara