O.C. THEATER REVIEW : ‘As You Like It’ Works; Setting Is a Distraction

Sometimes it’s less important when a play takes place than where, the perfect example being Thomas F. Bradac’s production of Shakespeare’s “As You Like It” at the Grove Shakespeare Festival.

In this case, the concept of setting the play in 1904 is just fine, even though it doesn’t make much of a point outside the visual framework it provides. But Bradac’s director’s notes also indicate that the play’s setting is the United States, during the era of “robber barons” and “captains of industry.” It looks and sounds more like Edwardian England.

In 1904, the rough-woven knee breeches on the adult males of the Forest of Arden could still be seen in the real Arden (in Warwickshire where Shakespeare actually grew up) but had all but been replaced by long pants even in rural America. Other anachronisms in Lyndall L. Otto’s attractive costume design include early 19th-Century dresses for the shepherdesses, playing against World War I-era dresses for the society women. None of this would be illogical were the setting English.

More of a point also would be made concerning the diminishing distance between the upper and lower classes following the end of Queen Victoria’s reign, the edges between the divine right of money and power blending more imperceptibly than ever before with the divine correctness of bucolic egalitarianism.

Even the original score by Chuck Estes, one of his best, seems to fit more easily into the British milieu. The shattered, raggy rhythms of his setting for “Greenwood Tree” (ragtime hit England like a bombshell at this period) and his haunting melody for “Blow, Blow, Thou Winter Wind” and other incidental music integrate beautifully into the action. The songs continue the British tone of the production in the Celtic openness and precise vocal control of Tom Juarez’s sensitive rendering.

As in the festival’s previous “Much Ado About Nothing,” the focus of the production comes from the performances of David Drummond and Elizabeth Norment, cast this time as Orlando and Rosalind. Once again, they play together beautifully, sparking humor that is often not evident in the roles, and seeming to respond to each other as though they are tossing their thoughts back and forth for the first time. They’re a joy to watch and listen to, making special note of the sincerity of Drummond’s innocence and naivete as the confounded younger brother who’s been cut out of his inheritance.

Bradac’s direction is fluid but doesn’t allow enough variance in the balance between scenes: Contrast in rhythm and color would make the production stronger and highlight its brightest moments. But Bradac’s balance between characters is intriguing.

Gary Armagnac gives a mysterious and intriguing performance as Jaques in the “Seven Ages of Man” speech. Carl Reggiardo’s plays a double role, as the power-hungry Duke Frederick and as the brother, Duke Senior, whom he banished from their stately home; Reggiardo’s lyrical Senior comes through with the most detail and three-dimensional reality. Roxanna Augesen is a charmer of a Celia, who accompanies Rosalind on her journey in disguise into the romantic and rose-colored world of the forest, and Harry Woolf makes a fine Touchstone, a sort of music hall type with green piping on his gray plaid suit (and a 1930s camera) and just the slightest hint of smarminess around the edges.

The company gives strong support, particularly Brenan Baird, snitty and stuffy as Orlando’s brother Oliver, who (following the idea of an English setting) looks as though he probably went to Eton and Cambridge.

Technically, the show works well on D. Martyn Bookwalter’s basic set (also used in “Much Ado” and this time decorated with spiraling twigs), nicely lit by David Palmer and with an excellent sound design by John Fisher. Linda Kostalick-Boussom’s ragtime choreography in the finale works just as well whether you decide to follow Bradac’s map or view the action in Warwickshire.

At 12852 Main St., Garden Grove; Thursdays through Sundays 8:30 p.m. (Aug. 25, 9 p.m.); ends Aug. 25. $16-$23; (714) 636-7213.