As You Like It

I can't possibly disagree with the first review more. The cast is splendid, the performances are spot on, and unlike most of the BBC productions it engages you immediately and doesn't bog down.

Richard Pascoe's Jaques is amazing, Hellen Mirren gives her usual strong performance, and so many of the smaller parts stand out. Touchstone for instance steals every scene he's in.

Indeed the only thing you really need wink at is the absurdity of Shakespeare's plot and its fantastical 11th hour resolution, but none of that matters...the play's the thing. Even the music is quite lovely.

Some of these BBC Television Shakespeare adaptations are a bit dry and dusty. But this one was really dynamic and engaging. Helen Mirren is the perfect and most beautiful Rosalind, the best I have seen. I love the songs they composed for the Shakespearean lyrics. There aren't many AYLI versions available to watch on screen so this is a must watch. Along with the 2010 Globe version which is available online.

This 1978 production is a sparkling version of a great play. Indeed, apart from some unnecessary abridgments of Touchstone's coruscating orations, this production is nearly flawless. The natural settings endow the play with a genuinely rustic atmosphere. (The fact that Helen Mirren occasionally has to wave insects away from her is something which contributes to that atmosphere.)

Arthur Hewlett, who appears to be on the verge of death in his performance as Adam, in fact lived for nearly two decades beyond the making of this production. Richard Pasco, who steals nearly every scene in which he appears as Jacques, died in 2014 at the age of 88. Helen Mirren is at her usual level of excellence in her starring role. Angharad Rees, who died of cancer in 2012, is likewise excellent as Celia/Aliena. Brian Stirner is not at quite the same level (with two or three slightly misjudged renderings of lines), but he performs commendably as Orlando. Kudos are due to everyone else in the cast as well, in a production that does not include any bad performances.

This is where it all began. BBC producer Cedric Messina was shooting a drama at Glamis Castle when he thought, "What a great place to shoot 'As You Like It.'" And so the idea for the complete series of Shakespeare telecasts was born.

Unfortunately, an all-too-real Forest of Arden here provides an impediment to the play. An artificial meditation on identity and appearance, "As You Like It" has one of Shakespeare's lamest plots, with poor characterizations, perfunctory incidents and sloppy story resolution. "Love's Labour's Lost" and "Twelfth Night" are as solid as tanks by comparison.

Video equipment was not as portable in the late 1970s as it is now, and the whole exercise is sapped by the actors' battle against Nature and logistics. A sense of strain is omnipresent. The characters are often physically too far apart and must yell at each other, Helen Mirren has to wave gnats away from her face repeatedly during a major speech, and a lush carpeting of ferns belies text references to a harsh outdoor existence. Basically, you come out of this play humming the trees.

Performances across the board are OK, but never better than that. Helen Mirren shows reliable professionalism as Rosalind and Richard Pasco's bilious affect is uniquely suitable to the character of Jacques.

Also noteworthy is the Banished Duke of Tony Church, who recorded frequently for the now-forgotten Marlowe Society of Cambridge's complete Shakespeare series on Argo LPs. And 6'7" David Prowse, fresh off his first appearance as Darth Vader in the original "Star Wars," shows up unexpectedly as Charles the Wrestler, performing the Shakespeare well in his own voice, and not overdubbed by James Earl Jones.

Budget considerations meant that "As You Like It" and "Henry VIII" would be the only plays in this series shot on location. BBC studio drama would come to an end in the early 1990's, but a production like this one points up the advantages of staying indoors.

Helen Mirren heads a splendid cast of actors in this production. Not only is the cinematography lovely, but the forest scenes accurately depict both the sense of freedom and the sense of dislocation and strangeness that a retreat to the Forest of Arden represents for the court characters. Rosalind serves as a splendid counterpoint to Orlando in the forest, training him to understand the needs of women and constantly catching him off-guard with her banter. Jacques is suitably pompous and condescending, admirably outwitted by Rosalind when he has the audacity to attempt to match wits with her. Even the minor parts, such as those of Phebe and Audrey, are acted with skill.