REVIEW: As You Like It - VOX Theatre Arts

There’s Shakespeare, and then there’s the Bard meets rock'n'roll under the stars, and VOX Theatre Arts’ production of 'As You Like It' gave us the latter.

For those unfamiliar with this one (don’t worry, you’re not alone), 'As You Like It' is one of the Bard’s outdoor comedies. Rosalind is banished from court by her usurping uncle, Duke Frederick, and disguises herself as a young man named Ganymede. Along with her cousin Celia and the jester Touchstone, she flees to the Forest of Arden. There she encounters Orlando who has also run away after clashes with his family... What follows is a tangle of lovers, mistaken identities, ridiculous disguises, and musings on love, loyalty, and identity.

This was my first time meeting this particular play (though it was giving Twelfth Night energy, with mistaken identities, cross-dressing, and lovers falling madly at first sight), but the addition of rock classics and a live band meant it had a flavour all of its own. Performed outdoors at the Forest Lake Amphitheatre, under a sky that went from twilight to full "I can't feel my fingers" freezing, this was a quintessentially Brisbane theatre night and worth packing an extra blanket for. The setting itself was stunning, framed by the lake, blooms and bushland. Still, I’ll be recommending a springtime matinee for future seasons for those as golden sunsets and warmer air.

The cast was brilliantly chosen not only for their ability to wrangle Shakespeare’s language and play to a crowd, but also for their comfort in singing, dancing, clowning, and mock-brawling in the middle of a public park. Varni Keioskie was an absolute delight as Rosalind. She played Shakespearean frivolity with just the right amount of playful absurdity, leaning into the running gag about Rosalind’s supposed towering height. Poor Varni is pint-sized, which only made it funnier, and she sold the joke with such conviction that it landed every single time. She handled both the drama and the comedy with ease, sweeping us into her lovestruck scheming and disguise-as-Ganymede antics.

Skye Schultz’s Orlando bounded onstage with lovestruck charisma. Their fun rock number “Are You Gonna Be My Girl” had the whole audience bopping along (though I ended up receiving the bloom instead of Rosalind — lucky me!). Skye’s stage chemistry with Dom Bradley as his brother Oliver was delicious, whether in their mock-serious wrestling or their simmering sibling rivalry.

And speaking of Dom, he is a truly fantastic comedic actor. Dom made every background choice, sly aside, and “lost puppy” expression count. He’s the kind of performer you can’t help but watch, even when the main action isn’t on him. His knack for stealing focus without ever pulling the scene off-balance was pure joy to witness.

Jack Barrett, as the fool Touchstone, was a revelation. His background as a children’s entertainer was obvious in the best way. He was endlessly engaging, bouncing off his castmates, riffing with the musicians, and dragging the audience into his antics. His dynamic with everyone both on and off stage seemed to glue the whole world of the play together. His goofy and strong rendition of “Working Class Man” (complete with kazoo-playing) had me very impressed. Plus, he did the noble service of keeping us on track whenever Shakespeare’s plot threatened to lose us.

Angelina Mustafay floated across the stage as Audrey with a dazed-and-confused smile that never faltered. Her sweet beauty as the wide-eyed simpleton made her impossible to ignore, even as Touchstone dragged her along like a bewildered prop. Her gentle, airy presence was the perfect counterpoint to the fool’s mischief.

Braithe Ellis played Sylvius, the hopelessly lovesick (and slightly stalker-ish) proclaimed “King of the Losers,” pining with all the subtlety of a Labrador. Hannah McNamara as Phebe met his advances with sharp disdain, even belting out “Sweet About Me” to drive the point home. Every clueless plea from Sylvius was swatted away by her withering dismissals, making their cat-and-mouse routine one of the funniest dynamics of the night.

Eloise Newman as Celia was the ultimate sidekick. With her knitting prop never far away, she offered quiet, knowing commentary while everyone else professed undying love after approximately two seconds of acquaintance (it wouldn’t be Shakespeare without it). Her stillness against the surrounding chaos made the comedy pop even more, especially when she inevitably gave in to love at first sight herself.

Geo Toner gave Jacques a beautifully melancholic edge, her crash-out moment landing perfectly amidst the otherwise joyful forest antics. She balanced gloom with humour so well that her presence always shifted the energy in interesting ways. Tim McQueen was so convincing as the villainous Duke Frederick that the audience booed him every time he entered or exited… surely the ultimate compliment!

And then there was Mark James, doubling as Duke Senior and musician, who brought the park down leading us all in a rousing rendition of Hunters & Collectors’ “Holy Grail.” Alongside Molly Parker (also MD) on guitar and Phoebe Parker on percussion, this small but mighty trio powered the show’s unique “Bard meets Aussie pub rock” vibe. Harmonies in “Throw Your Arms Around Me” soared beautifully through the unamplified night air. We also got a tender and heartfelt duet of “Fall At Your Feet” from Varni and Skye, with Eloise knitting awkwardly beside them as the perfect third wheel. The finale, a gleeful singalong of “From Little Things Big Things Grow,” sent everyone home grinning, humming, and feeling like part of the company.

The set and costume design matched the playful spirit of the play. Tamzen Hunter’s floral structures framed the amphitheatre with springtime blooms, even dressing up the musicians’ area. Costumes were colourful, vibrant, and perfectly suited for outdoors, while bright lighting bounced off the greenery of the set and kept the atmosphere lively once the sun went down.

Hannah Herwin’s choreography kept the energy high, ensuring there was always movement and fun on stage, while Max Kingsbury’s direction leaned into both clarity and chaos. Together they balanced Shakespeare’s text with audience-friendly humour, fourth-wall breaks, and cheeky asides that made sure we were never too lost. Bonus: we even got some accidental extra theatre when a contemporary dancer appeared on the pier just behind the stage for almost the entire performance. The cast improvised, the audience stifled giggles, and it only added to the “you had to be there” magic of the evening.

The show wasn’t without quirks. Act I ran long with the addition of music, and the extended intermission (due to the hot drink service and a trek to the bathrooms) stretched the evening. The setup allowed audiences to bring picnic rugs or chairs; very comfortable, though definitely at the mercy of the weather. Still, there was something wonderfully communal about sitting together under the night sky, laughing and singing along. Did I understand every word of the Bard? Not even close. Did I care? Absolutely not. I was too busy enjoying the vibe.

VOX Theatre Arts have proved once again why they’re a company to watch. I adored their Midsummer Night's Dream last year at New Farm Park, and this show was just as wonderful (if a little colder). I’m already counting down to the next Shakespeare in Bloom, and in the meantime, I am buzzing for their next big musical, If/Then, at Arcana on 10-11 October, 2025!

Photography by Artist Focused