Review: Shakespeare musical spreads good vibes in SF

There’s never a bad time to introduce a new musical based on one of William Shakespeare’s most beloved comedies. But at a time when one of the major political parties has decided to dedicate itself to fearmongering about both drag shows and the existence of trans people in public life, it seems particularly appropriate to counter all that hate with a celebration of love based on a Shakespeare play that involves a great deal of gender-bending.

And when the adaptation includes some nonbinary performers and same-sex romances, all the better.

The “As You Like It” musical now playing at San Francisco Playhouse is adapted by songwriter Shaina Taub and Public Theater of New York director of public works Laurie Woolery. Taub also composed the musical adaptation of “Twelfth Night” that SF Playhouse did last year (yet another Shakespeare play centered on a woman disguised as a man). Both musicals were commissioned by Public Theater and originally debuted as part of its Free Shakespeare in the Park program.

“As You Like It” is the tale of Rosalind, a noblewoman living as a man in exile in the forest of Arden. There she bumps into Orlando, a nobleman who fell in love with her at first sight immediately before both had to flee for their lives from the tyrant Duke Frederick. So she befriends him in her male identity as Ganymede and convinces Orlando to pretend Ganymede is Rosalind (which of course he actually is) to practice wooing her.

The musical is very faithful to the original’s many characters and assorted subplots and replicates its delightful humor well in artistic director Bill English’s lively staging.

The large cast of 17 has its risks right now, as evidenced by opening night being delayed two weeks because of COVID cases among the ensemble, but it’s full of strong performances.

River Navaille’s Rosalind beautifully conveys the push-and-pull of being wonderfully sharp-witted and confident in toying with Orlando while also being palpably smitten with him. That inner conflict goes deep in other ways, too. Rosalind is obviously much more comfortable as Ganymede and not terribly excited about the thought of going back to the previous identity.

Nikita Burshteyn is an endearingly earnest cheeseball as Orlando, and their scenes together are terrific. Abigail Esfira Campbell is full of vicarious enthusiasm as Rosalind’s companion Celia, tempered by exasperation as her friend starts playing an increasingly dangerous game.

Michael Gene Sullivan is a warm, good-humored presence as Duke Senior, who holds court in the forest after being deposed by his villainous brother, Duke Frederick (Will Springhorn Jr., childishly volatile). The Duke’s infectious optimism is comically countered by the melancholy Jaques’ gloomy cynicism (played by Deanalis Arocho Resto with wry humor). Nicholas Yenson’s amusingly out-of-his element jester Touchstone also provides plenty of mocking commentary as a foil for the young lovers. Sophia Alawi is hilariously lovestruck as the shepherd Silvia (usually Silvius), doggedly wooing Emily Dwyer’s aloof Phoebe.

Bill English and Heather Kenyon’s set looks deceptively simple, its wide-open arches filled in with colorful trees for the Arden scenes. Sarah Phykitt’s projections provide gloomy photographic backgrounds for the scenes in Frederick’s court and brightly colored cartoonish forest scenes for Arden.

The songs are often the weakest part of the show. A number of them are syrupy and mawkish, with keyboard-heavy arrangements and a muddy sound that almost sounds prerecorded, when in fact it’s played backstage by a five-piece band led by music director Dave Dobrusky.

When they’re good, though, they’re terrific. One highlight is Orlando’s catchy pop-R&B boy band number “Will U Be My Bride,” with hilarious pink-clad backup dancers choreographed by Nicole Helfer. The comically bombastic theme music that follows Duke Frederick everywhere he goes is a fine running gag in itself. In one of the most powerful songs, “When I’m Your Wife,” Ganymede sings a litany of the difficult emotional baggage that Rosalind would bring to a relationship, voice choked with emotion.

Even the numbers that aren’t nearly as strong are performed by the cast with so much humor and heart that they’re enjoyable nonetheless.

That’s the thing about Arden. Its environment of ready acceptance and inclusion has always been one of the appealing aspects of “As You Like It,” and in this version that feeling of goodwill suffuses the show more than ever. Those same good vibes make the bits that aren’t that great feel like no big deal.

Contact Sam Hurwitt at [email protected], and follow him at Twitter.com/shurwitt.

‘AS YOU LIKE IT’

By Shaina Taub and Laurie Woolery, based on the play by William Shakespeare, presented by San Francisco Playhouse

Through: Jan. 14

Where: San Francisco Playhouse, 450 Post St., San Francisco

Running time: Two hours, no intermission

Tickets: $15-$100; 415-677-9596, www.sfplayhouse.org