As with his Twelfth Night four years ago, director Geoffrey Hyland has once again delivered the goods for Maynardville’s annual Shakespeare. His production of As You Like It is cheerful, light-hearted, funny and wholly appropriate for an evening diversion at this open air theatre. It will also go down well with schools, which is a vital constituency here.

Over the years Hyland has found an answer to staging Shakespeare in contemporary South Africa. In particular, when exercising his vision of the play, he does not impinge upon the work. He allows it to speak for itself without forcing too narrow a reading. Instead he uses multiple references as aperçus to the text. The challenge is to keep these cohesive and not shambolic. The fantastical world of As You Like It gives him this license. Thus we have hippy communes in the forests of Arden, African spirits and didgeridoo sounds; intuitive details that are not limitiary but apposite.

Many of the stalwart Maynardville actors are in the current production of The Tempest and Hyland has done well with a youthful cast; refreshing in this undemanding comedy, though some of the over-excited and peculiar squealing sounds from the cast lower the tone.

The night belongs to Guy de Lancey as Jacques, the melancholic traveller, who delivers all his speeches including “All the world’s a stage” with great finesse. Much of the comedy is carried by Mark Elderkin (Touchstone) who deserves to be singled out for his uncanny comic timing, and the subtlety he displays within an over-the-top interpretation of the character.

Swazi
Mark Elderkin, one of our finest young actors, who audiences may recall as Hamlet in Steven Berkoff’s ingenious The Secret Love Life of Ophelia, has struck out in a new direction with mixed results. His self-written and solo-performed Swazi is an autobiographical sketch of childhood and adolescence about growing up in his native Kingdom of Swaziland before being shipped off to board at the Drakensberg Boys Choir School.

After a comic voice-over, it appears at first one’s in for a stand-up comedy routine, a shtick that doesn’t come naturally to a serious character study actor like Elderkin. His direct address to the audience, however relaxed, is shy and oddly formal. He is at his best when in mid-story, illustrating his narrative, as he does with tremendous energy, and his impersonation of his twittish stepfather is a particularly amusing portrait.

The climax of the show is a botched burglary at the family home. Mark is tied up and locked in the bathroom with his stepfather, while his mother is taken into another part of the house by the apish robbers. The result is a riveting mix of high comedy and sheer terror that stays with one days after seeing the show.
Elderkin could easily have chosen a ready-made monologue and I’m quite sure with his skills he could have packed out this small theatre for several weeks. But it’s important for actors to have a space like the Intimate where they can try out new material at low risk both to themselves and the audience.