As You Like It and Touchstone - Opera and Intermezzo - 1. Production Notes

PRODUCTION NOTES FOR

As You Like It

Opera Erotico-Giocoso

in Three Acts

&

Touchstone

Intermezzo Comico

per l’Opera As You Like It

in Two Parts

“For since the little wit

That fools have was silenced,

The foolish wit that wise men have,

Makes a great Show.”

(I,ii)

The following work is an adaptation

of the play

As You Like It

by

William Shakespeare

This play is an erotic pastoral dedicated to love. Here all’s well that ends well in marriage, and nothing – and he means nothing – can stand in the way of true minds in love, certainly not gender. Just ask the man he loved, and who received the following words of eternal devotion from his poet (Sonnet 116):

Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
Oh, no, it is an ever-fixèd mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come.
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error, and upon me proved,
I never writ, nor no man ever loved.

Notes for As You Like It –

Personal note

In a fair world, an artist does not have to explain his work. Shakespeare was lucky that such questions did not force him to lie about his Queerness. Quite the contrary, he felt free to gender-bend conventions in play after play and make his audience laugh and feel connected to the great flourishing of Gay culture in his time. The fact that he as a poet felt safe in his same-sex commitment and love to dedicate and publish 154 love sonnets to his partner speaks for all time in simple and loving honesty. No amount of convoluted back-reasoning will ever take away the true devotion that Shakespeare published in his lifetime to his young man, to his "lovely boy" as he called him.

In 1991 I was lucky enough to see a landmark production of As You Like It. It was staged by the British theater company, Cheek By Jowl, and featured – for the first time since the 16^th century – an all-male cast.

Talk about gender-funk! Handsome young men playing young women who then disrobe as young men; and Rosalind as a 'costume-free' youth wooing and winning mister sexy-pants Orlando – Oh, so hot. But this is exactly as Billy wanted it, and what made theaters so 'dangerous' to the puritan minds of the time.

This production was beautiful. It was honest and integrated Amiens and Jaques into the loving coterie of couples. Since 1991, this model has often been followed in productions around the world, and it seems to be what Shakespeare wanted all along. I have followed suit here, and am happy to do so.

The second part of this opera is not part of it at all. Let me explain. Touchstone as a character is well-loved, but he did not fit into the erotic drama I had in mind. Working on it though, I thought how great and fun it would be to revive an old tradition; that of the Intermezzo – a pair of short scenes for Touchstone and Audrey, written by a second composer, and shown in the intervals of the main opera. I have kept the libretto for that work separate, but indicated in the synopsis where the two parts should be inserted for performance. For the finale of As You Like It, the cast of Touchstone can join in the festivities and praises of all-accepting Love, as indeed so should we all.

Personaggi

Cast:

THE COUPLES:

Oliver - Oliver de Boys, eldest of the de Boy brothers. 27 years old.

Celia/Aliena - Beloved of Oliver; daughter of the usurper Duke. 18 years old.

Orlando - Orlando de Boys, youngest of the de Boy brothers. 23 years old.

Rosalind/Ganymede - Beloved of Orlando; daughter to the rightful Duke. 18 years old.

Jaques - City boy, world travel and weighty under-achiever. 28 years old.

Amiens - Beloved of Jaques; country boy; professional musician. He always carries a guitar. 24 years old.

Silvius - Country boy; shepherd. 23 years old. Same actor plays Le Beau in Act 1.

Phebe - Beloved of Silvius; country girl; shepherdess. 25 years old.

THE GROWN UPS:

Duke – The Usurper Duke (the younger brother), and Rightful Duke (the elder brother) are played by the same actor. Early 40’s.

Charles - Old school friend of Oliver’s; professional wrestler. 29 years old.

Le Beau - Employee of the Duke’s; smitten with Orlando. Mid 30’s.

THE CHORUS:

Divided Male Chorus (Bass, Baritones, Tenors and Countertenors) - Men loyal to the rightful Duke; hunters and foresters.

Two Boys - Country boys who play in the woods and are taught singing by Amiens. About 10 years old.

Sceneggiatura di Azione

Synopsis:

Action takes place in Napa, California, in current times. Later action happens in the woods around Napa.

Act One – Working-Day World

Scene One: “Break his Neck”

Setting: the tank room, a dreary back-of-house production space at ‘The Duke’s Winery’. The light is harsh from industrial-sized pendant fixtures, and the natural world is not visible. Standing around the whole area is a forest of twelve foot high stainless steel holding tanks. These are slender, about eighteen in diameter, shiny and cold looking.

The action starts with Oliver already on stage, pacing nervously. He ducks behind a tank as he hears someone approaching. When he sees Charles, wearing his wrestling tights under a satin robe, he steps forward and the two embrace as the old friends they are.

Oliver looks around and pulls Charles aside, asking if he is wrestling before the Duke today. Charles confirms that he is, and says he’s heard Oliver’s younger brother Orlando wants to challenge him. He warns Oliver that he might have to inadvertently hurt the boy to save his wrestling name and honor. Oliver tells Charles that Orlando is so low-down and conniving, he’d better watch out for himself. He slips Charles an envelope of cash, calls upon Charles’ love of Oliver to dispatch Orlando. Charles takes the money, slipping it into his robe pocket and says he's glad they had this little chat. Le Beau has overheard this conversation and slips away unnoticed.

Oliver alone contemplates the bitter state their dead father left them: the estate going to Orlando, and Oliver only invested to see that the youngest is brought up. He curses all unfair fathers.

Scene Two: “There begins my Sadness”

Setting: a large events hall at the winery. This room is devoid of any contact with the outside world except for small clerestory windows set high between the steel rafters. Laying on the floor stage center is a length of heavy rope, joined to form a ten-foot circle. As the action starts, we see Rosalind, Celia and Le Beau conferring stage left. All notice Orlando enter stage right. He is wearing typical high-school-issue sweat pants and zip up jacket. He carries a gym bag and towel. As he unzips his jacket and begins to stretch on the floor, he contemplates his sad case: dead father, middle brother at school, and eldest brother who hates him and keeps him uneducated and working on the family estate as a manual laborer. He vows that his father’s spirit in him will no longer bear it.

The action switches to the other side of the room, where we learn of Rosalind’s sad story: exiled father escaped with some loyal men to the forest, and of a hothead usurper uncle, who acts capriciously. Celia reminds her they have each other and to cheer up. Rosalind teases her by saying she’ll pay a game of falling in love, to which Celia begs her to just not fall in love with any boys. During this we see Le Beau go over and speak with Orlando earnestly. At the end of which Orlando shakes his hand and slaps his shoulder. Le Beau slips back to his side

Enter Charles and his entourage, then Oliver who goes to Orlando’s side, and the Duke by the girls and Le Beau. As Charles warms up, the Duke asks the girls to talk Orlando out of challenging the wrestler. When Rosalind threatens to call off the match if Orlando insists on going into the ring, Orlando assures her there’d be no one to morn his lose, if he should die. Rosalind falls for him.

The wrestling starts and is a grudge match. During the wrestling, Charles’ entourage picks up the rope, which forms the ring, stomp and shout words of discouragement against the boy. In the heat of this, Celia manages to get herself caught on Oliver’s side, and when the action threatens to knock her over, she is caught by Oliver. The two have a silent moment, where we can see more than gratitude is passing between them. Finely, Orlando is barely able to win by vaulting Charles over the ring to an unconscious position on the floor. After the match the Duke asks the boy his name and is angered to learn who he is. The Duke, with Oliver and Le Beau, storms off stage. Celia apologizes for her father’s behavior, and Rosalind tries to compensate by giving him the necklace from around her own neck. Orlando is so stunned, he can’t say a word, but sees the girl for what she is: one in love with him.

Le Beau, already under the boy’s spell, comes back and warns Orlando that the Duke is in a dangerous mood and he had better hide himself for awhile.

Orlando alone decides to go to the forest and take up with the banished Duke’s men, but his only regret, is having to prematurely leave Rosalind, whom he now loves in return.

Scene Three: “Thus to all Traitors”

Setting: same as Scene One. Enter Rosalind followed hotly by Celia who is shocked that Rosalind can fall for a boy at first sight, and silently uncomfortable at the prospect that she has done the same. The Duke enters and capriciously labels Rosalind a traitor and banishes her. As Rosalind contemplates a life alone, Celia reconfirms the love the girls share for each other, asking “shall we be sundered?”

The girls vow to brave the world together, and find Rosalind’s father in the woods. They plan that Celia should gathers some valuables, and then be off, but this makes Rosalind fear they’ll be defenseless on the journey and decides it’s best for her to dress as a young man for the duration. Celia will assume the guise of a vapid girl, called Aliena, and learns Rosalind will be called Ganymede, after Jove’s own best boy.

Act Two – The Golden World

Scene One: “Looked on Better Days”

Setting: the rightful Duke’s camp, deep in the woods. Dappled sunlight filters down through golden-leaved aspen and willows. Everything looks fresh and untouched by man, in sharp counterpoint to the commercial/industrial world of Act One. Action begins with the rightful Duke and double chorus of his faithful men extolling the pleasures of an exiled life as they ready their camp for a communal meal. When the Duke asks about the melancholy Jaques, Amiens, with the help of his two boy students, relate what the sight of tonight’s dinner-on-the-hoof made Jaques feel. The Duke with his men go off to prepare the kill, with the two boys pretending to go with them, but really hide behind trees at camp. Amiens is alone, but is quietly joined by Jaques. The two settle down for an intimate moment of peace, and Amiens sings to soothe his partner's mood. The boys offer giggles and commentary support from the tree line. The love scene is rudely interrupted by a haggard Orlando who demands foods at knifepoint. When Jaques tells the boy he is more than welcome to join them at dinner, Orlando reflects on better days and true hospitality no matter the setting. As Amiens feeds Orlando pre-dinner apples, Jaques muses that “All the world’s a stage,” and considers the seven stages of a man’s life. The return of the party, with dinner in tow, and an official extending of the invitation for Orlando to join them by the Duke, closes the scene.

Scene Two: “Much upon my Fashion”

Setting: the scene rotates from the heart of the woods to its edges. While the tree line remains at stage right, stage left opens to pasture land with stands of live oak in the distance. We see a gravel road turnoff with a large sign on a post: “Farm and pasture FOR SALE.” In the woods, letter sized pieces of paper are seen sticking on the tree trunks and on low hanging branches. Action begins with a tired looking Ganymede and Aliena entering from stage left. Gany looks like an Emo-Boy version of Rosaline with straight black hair and eye makeup while Aliena looks like a Pretty-Girl version of Ceila, with light hair, Paris-Hilton-type dress, bag, high-heels and chewing gum. She has a cell phone pressed to her ear to complete the ‘look.’ As Aliena stumbles of some clods, Gany puts their suitcases down for a rest. Just as they do so, someone comes and they head to the cover of the trees. Enter the shepherd Silvius alone bemoaning the lack of love returned by his Phebe. After he leaves, Gany says he heartily relates with the lovesick boy, saying he is much upon his own fashion. They agree they like this place and will buy the farm to stay here awhile. As Gany returns to retrieve their luggage, he spots the papers and pulls some down to study them. Reading one for Aliena, they are both surprised by the lack of quality and the namesake: Rosalind. Aliena mocks the boy who wrote it with her own poetaster verse. Just then, Orlando appears at the tree line to post another missal, but as he is doing so, he is hit on by Jaques. Seeing the way Orlando relates to Jaques, Gany gets an idea. He goes over to Orlando, introduces himself and his sister, and says he can help Orlando fall out of love with Rosalind. All Orlando has to do is come everyday and try to seduce Ganymede. Orlando protests that he does not want to fall out of love, but intrigued by the captivating boy, and resolved to show his faithfulness to Rosalind, he agrees to try the boy’s ‘cure.’ Orlando leaves with the promise to come back tomorrow and woo the young man.

Seeing him again like this, Gany tells Aliena just how bottomless is his love for Orlando.

[If used, insert Part One of the Intermezzo – Touchstone]

[Intermission]

Scene Three: “Sudden Power to Fancy”

Setting: same as above. Ganymede is sitting alone at the tree line with a book. Enter shepherdess Phebe walking intently and pursued by Silvius, who begs her not to say she can never love him. Phebe stops and assures him, she’d like nothing better than to never get the change to hurt his feelings again, if he’s only leave her alone. Sil warns her that a time may come when she knows the pain of falling into an unrequited love. At which, Gany can hold his tongue no more and deeply chides Phebe for rejecting the love a perfectly good man. He also tells Sil that it’s he who flatters her nonexistent looks, and certainly not her mirror. He storms off into the woods.

Phebe tells herself she’s incensed at being talked to in that manner by the boy, but considers that something else is also happening. Barely remembering anyone named Silvius exists, she will nonetheless use him to deliver a scathing letter she’s about to write.

Sil alone bucks himself up to the sad thought that he will be able to live on the scraps of Phebe’s affections for another.

Scene Four: “Earthquake of the Heart”

Setting: same as above. Ganymede enters being hotly chased by Jaques. Gany confronts him, and decides to have some fun, teasing him about his particular brand of melancholy. Jaqs tries to seduce the boy with a listing of the types of self-reflection, including that of the ladies, which is nice, which he assures Ganymede, he is not. When Orlando appears, Jaques gets the message and leaves them alone. Gany feigns being angry for Orlando’s tardiness, to which Orlando responds by turning on the charm. Acting like he’s in charge, Gany begins the lesson, but Orlando soon takes over and achieves what he said he did not want to achieve. Aliena, entering unnoticed, first bemoans the loss of her love, Rosalind, but nevertheless is overcome by the power of love here on display.

Orlando bids Aliena perform a wedding service for he and Gany, which she does and the two young men vow enduring love, to which Aliena says time will be the judge.

[If used, insert Part Two of the Intermezzo – Touchstone]

Act Three – The World in Balance

Scene One: “With Bow and Song”

Setting: deep in the forest. A stag lies dead stage center. The action starts with the hunting party chasing the quarry and singing a raucous hunting verse. Jaques asks and learns it was Amiens who killed the deer with bow and song, to which Jaq says they will present the kill to the Duke so he may wear the antlers as Roman conquerors wore laurel wreaths. Amiens begins to sing a tribute to “the lusty horn” which is quickly made into a bawdy pun by the chorus of men and the Two Boys.

Scene Two: “A Marriage of True Minds”

Setting: the scene rotates from the heart of the woods to its edges. Ganymede and Aliena are waiting for Orlando to keep his appointment, but he is late. We learn from Gany the nature of Orlando’s kisses, and Aliena’s reaction. Silvius comes with a letter he says is from his Phebe. But when Gany reads it, he accuses Sil of writing it, because it is a love letter! Sil is confused, for while Phebe told him she hated the impertinent youth, her words belie adoration. Sil leaves with Gany's answer, as Oliver arrives all disheveled and haggard. He instantly recognizes Aliena as the disguised Celia, and hopes she remembers him. Oliver relates how he had been nearly killed, and if not for the bravery of Orlando, who was injured in the fray, he would be dead. He presents Ganymede with Orlando’s apologies for missing their date, and Orlando’s blood on a stained bandage as proof. Ganymede, taking the bandage, runs to find Orlando in the woods.

Oliver and Aliena reconnect by themselves, and extract a confession of love at first sight from each other.

The scene rotates to the heart of the woods. Ganymede finds Orlando sitting under a tree. As they rest together, Orlando confirms that Gany has won his love completely, but Ganymede says he can work magic and produce Orlando’s Rosalind. Their tender moment is interrupted by an indignant Phebe, and a trailing Silvius. When Gany spurns her, Phebe has Sil relate what it means to be in love, and they all, including Oliver and Aliena who have joined them, affirm they posses it. Gany tells them what to do: they’ll be married tonight, Orlando to Rosalind, Oliver to Celia, Gany to Phebe – or, if she for some reason refuses him at the last moment, Phebe to Silvius.

Scene Three: “Two by Two to the New Ark”

Setting: the scene rotates to the Duke’s camp in heart of the woods. It is evening time, and every tree is strung festively with white paper lanterns. The Two Boys, dressed as attendants to the Greek god of marriage, carry flower garlands and wreaths. They lead a procession for Amiens dressed as the god Hymen, guitar still on his back, before the Duke, his men, and the men about to be married. Hymen calls for Roselind and Ceila to appear and the Duke is reunited with his daughter and niece. Orlando and Oliver are happy to see their loves. Phebe accepts Silvius, as Gany is unavailable, and Hymen and the boys marry them with high praise for love from the assembled.

Jaques, on the side of things, comments that it looks like another great flood is on the way, and wants to depart. Amiens, extending his hand, wants Jaques to stay with him, and Jaq, having a sudden release of his dolor, recognizes what Amiens intends. Letting go, he says he will have what the young man wants for him. They kneel, and two by two, like the rest, are bound with garlands by the Two Boys and married by the Duke. All the couples seal their vows with a kiss.

All action freezes, as Rosalind, dragging Orlando with her, comes to the front of the stage and delivers one final gender-blowing comment. The action unfreezes, and all join in the final, celebratory chorus in praise of love.

Staging notes:

1) Stage Settings:

Stage settings and costumes reflect current times.

The industrial, money-centered, world of Act One is in sharp contrast to the open-air freedom of the woods. Act One is intense, both with the kinetic action of the wrestling framed in the very center of the Act and in the psychology discomfort of everyone. We learn of Oliver’s jealousy and his father issues; we learn of Orlando’s pain at losing a father and having a brother change on him; we learn of the usurper Duke’s paranoia, and of Rosalind’s sad state. None of it is fun.

In Acts Two and Three all this changes. Everybody feels the license to be themselves, ironically, even Rosalind and Celia, feel this way because they are safe with the guises of Ganymede and Aliena.

All the pain here is caused and cured by love, and love alone.

The stage settings should be the outward reflection of this inward condition.

2) Costumes:

Current street clothes for people in Act One, reflecting their age and station in life.

Charles’ entourage needs chino and matching polo shirts that compliment the pro wrestling tights and a satin robe that Charles wears. He needs the robe to have exterior pockets to pocket Oliver’s hit money. Orlando, a high school graduate, comes in typical high school wrestling tank-top singlet, and polyester zip up jacket and gym shorts, all with “Napa High” written on them. He also needs a gym bag and towel. He will carry this bag with him into exile, and we assume his only other change of clothes is in here. This consists of blue jeans, white sneakers and socks, a white ribbed tank top and lightweight flannel long sleeve shirt, which he variously wears, with the sleeves rolled up, or has tied by the around his waist. He has a bandana that he sometimes wears on his forehead to keep his long hair out of his eyes.

Celia should resemble a skater boy, with baggy Bermuda shorts, white socks, checkerboard Vans shoes, dark tee shirt and cap with brim turned to the back. Her Hair is short, straight and dark. As Aliena, she dresses as her opposite: with a wavy blond wig, a short-ish baby doll dress, white plastic sunglasses, carries a huge handbag, has chewing gum and cell phone always present.

Rosalind makes a contrast, is taller, has light hair and wears a light sleeveless summer dress. She’s not a flashy girl, but as Ganymede she dresses in Emo-boy glamour: red Converse All Star high tops, black jeans with steel studded belt, half a dozen wrist bands and bracelets on each wrist, black tee shirt with pink sequined skull and crossbones as a central design, mascara and straight dark hair cut asymmetrically.

In Act Two, the Duke and his men should look like they’ve been camping a little too long. Jaques should look like a traveler, with cargo pants, print short sleeve shirts and a frumpy hat that can be squished into a back pocket. The country people: Sil, Phebe, and the Two Boys should dress better, or at least look like they have access to laundry facilities. The two young shepherds are Basque, which makes sense for a California setting. They should wear rubber boots, trim and tidy jeans or chino, thin weight sweaters, soft caps somewhere between a beret and cabby’s, and carry straight staffs, about forty-two inches long.

The Two Boys should wear cargo shorts, tee shirts and tennis shoes. In Act Three, when they serve as Amien’s attendants, they should wear the following: knee-length light yellow tunics, tied at the waist with a flower garland belt, with the same flower garland as a wreath on their heads. They should be barefoot.

Amiens should be fair-haired and light complexioned. His nature boy persona is related in what he wears: straight-legged linen pants with drawstring, embroidered morocco-style shirts with open necks and sockless Birkenstocks. He should always carry a guitar, mostly on his back, with the colorful embroidered strap sashed across his chest. Even when disguised as Hymen, the guitar will let the audience know instantly who it is. When dressed as the Greek god of marriage he should wear the following: a light saffron-colored knee-length tunic, tied at the waist with a flower garland belt and wreath on his head. He should be barefoot and carry two torches. These need to be about thirty-six inches long, and resemble tightly rolled paper ice cream cones. These should be lit when he enters.

3) Properties:

In Act One: a ten-foot rope ring, to be held by Charles’ entourage; an envelope for Oliver’s hit money; Orlando’s gym bag and towel; and a necklace that Rosalind wears and gives to Orlando.

In Act Two: items to make a camp dinner; a hunting knife for Orlando and his gym bag; a bowl of apples; a lug pole with deer attached' detachable Farm and Pasture FOR SALE sign; two designer suitcases; one cell phone; poetry stuck to trees; and a book for Ganymede to read while waiting.

In Act Three: Phebe’s letter; a hunting bow for Amiens; a bloody bandanna for Oliver; eight flower wreaths for the Two Boys to crown the couples; four flower garlands to wrap the couples’ hands; two thirty-six long torches for Amiens; two stands for Amiens to set the torches on; and various white paper lanterns to hang in the trees for the weddings.

4) Characters:

The following background information is derived from the play, the play’s source Rosalynde by Thomas Lodge, 1590; Lodge’s source, The Tale of Gamelyn by an anonymous 14^th century poet; and my imagination.

Orlando, 23 years old, sensitive, brooding, but athletic and built like a construction worker (this is because Oliver treats him like a hired-hand on their family estate). Despite of, or directly because of his sensitivity, especially at only being a high school graduate, he’s hot-headed. Because of his build, he’s quick to use his fists. His father saw and admired these qualities in his younger son, and sought to make him heir and estate keeper. The father’s untimely death, while Orlando still a young teen, meant that his eldest brother could rightly claim guardianship of house and household. Orlando is in the dark about these legal wranglings, and does not know his father made him the main heir.

We have to see the dead father as cold and distant to his sons when alive, and recognize that Orlando wants nothing so much as better father-love from Oliver, to whom he was close while growing up. Not knowing that Oliver has anything to fear from Orlando’s legal claim, he cannot understand the sudden exhibit of hatred from Oliver after their father’s death. This is all the more puzzling to Orlando because Oliver’s feelings to Jaques, the middle brother, did not change. Oliver sent him away to school, but refused an education for Orlando. The bottom line in their relationship is that Orlando wants Oliver’s love, and that is why he’s so willing to reaccept it in the woods.

Oliver, 27 years old, with much the same looks and bearing as Orlando, but his maturity shows in a more manly (that is, less youthful) physique, and a sensitivity that has given over to bitterness. He hates his father for not having faith in him, and takes it out on dad’s favorite, Orlando. He grudgingly recognizes in Orlando a more capable man, and he wants nothing so much as to be absolved by Orlando and to recede into the background. Celia gives him the chance to do the latter.

Usurper Duke and Rightful Duke, are in their early 40’s. Their relationship is the mirror of Orlando and Oliver, only here we see the illustration of the weaker brother (the rightful Duke) not being denied his inheritance, and eventually the stronger brother, who bided his time, takes over. These two are the dark side of Orlando and Oliver, and through their daughters, show the complications of bringing children into the middle of sibling hostilities. The usurper Duke’s loadstar is Stalin-esque paranoia. The rightful Duke’s loadstar is relief. His burden, maybe one he’s not really cut out for, is lifted, and he enjoys the extended, Lord-of-the-flies camping trip. He is entranced by Jaq because here is a man who has always lived the life he wanted, without any pressures. He wishes he had been him, but now feels too old to go traipsing off around the world.

Jaques, 27 or 28 years old; about the same age, and manly and mature in the same way as Oliver. He’s the type that took off after college on a trip and has never found opportunity to get off the traveling merry-go-round. He’s probably scared of the unknown, that’s why he seeks out the world’s nooks and crannies. He is scared of settling down, committing to commitment, and figuring out what to do with his life. ‘Beauty’ is his loadstar and his emotions jumps from the extremes of their examples: life/death, harmonizing natural environs/capricious human mangling, seen-it-all/all-new, Amiens/Orlando, Amiens/Ganymede, but with Amiens, especially through the element of his music, Jaq finds his first taste of equilibrium. With him, at long last, Jaques’ melancholy is balanced by requited love.

Amiens, 23 or 34 years old; about the same age as Orlando. Amiens is a country boy, light haired, slight of build, a mild-tempered and jocular youth with radiant smile and singing voice. He represents the polar opposite of always-in-his-head Jaques: he’s a nature boy. Untraveled, unaffected by outside forces, who nonetheless, channels the copious ways he feels into his music. He is drawn to Jaq because of a chemistry-based attraction, and because Jaq’s mental qualities handsomely compliment his own through contrast. His loadstone is to make Jaq happy, and to make Jaq his own.

Silvius and Phebe, are in their early 20’s. Country people, and in the way that Amiens is natural and artful, Sil and Phebe are natural and artless. Silvius particularly is heartbreakingly direct in his no-crap-about-it love. His music must presents the purest love tones in the entire show: what he feels, he is. He has all the sensitivity and brooding of Orlando, but none of his sense of wrong or quick temper. Even after he thinks Gany has somehow seduced his Phebe, Gany is in no way likely to get punched by Silvius.

Phebe knows not love, and therefore chides it, until it comes and clobbers her about the head. Her sham display of anger, and poetaster verse, shows her a quick understudy to Sil’s style of wooing, if not his depth of feeling. In her heart-of-hearts, she thinks Sil is weak, and because of it, contemptible, but all-in-all she finds him both a compliment to herself and a physically charming example of a man. The weakness she can work on. Naturally, she’s attracted to Gany because he acts tough with her, and has no interest in her at all. That’s exciting to her, because she’s not used to it, and cannot expect it from Sil.

Charles, is 27 years old. A good college friend of Oliver’s, the two almost started a romance, but then Charles found a girlfriend before the boys could fully develop an intimate relationship. Charles, dully aware of a ‘might have been’ with Oliver, does what Oliver wants in dedication to Charles’ premature shutting down of a ‘them.’ Sublimated love would lead Charles to anything for Oliver, even killing Oliver’s brother, if that’s what he wants.

Celia/Aliena, is 18 years old. She’s a modern tomboy who relishes genderfuck conventions of dress. For herself, she chooses a skater boy persona. Oliver will be pleasantly surprised to find the girl he marries comes with a strap-on for his pleasure, one broken in on Rosalind. And how does Celia feel about her cousin? Possessive. She likes the concept that one girl can attain and hold another based on her lovemaking skills. She likes being with her girl, striking a typical boyfriend pose around her; hanging off Rosalind by the elbow in mid-lean, etc. In truth of fact she does love Rosalind, but that true sisterly love is complicated by their physical closeness. Falling for Oliver eventually walks her through the process of letting all the trappings of her genuine love of Rosalind go.

Important too in this process is her assuming her identity-opposite in Aliena. Aliena is a girly-girl with Rodeo Avenue trappings, and a vapid demeanor; Aliena's role model is a certain Hotel Heiress.

Rosalind/Ganymede, is 18 years old. A pretty, but plainspoken and unassuming young lady, Rosalind very much goes with the flow. She’s aware that because she lives on the good graces of her rotten uncle, she’s grown up a bit duplicitous. She shows him (and his world) one face, and another, though still guarded, to Celia. Her sisterly love of Celia let her go along with Ceila’s designs on their affections and loves to feel her wrists sweat as they ‘go all the way.’

Orlando, from first sight, makes her wet and makes her wonder how he’d feel about the strap-on. She longs for him, and this is something new for her. Her collectiveness is changed through Ganymede into a plan of action: Gany will make Orlando seduce him to find out what type of lover Orlando will make. Gany is more than pleased to be secede, and has an erection all his own.

Divided Male Chorus (Bass, Baritones, Tenors and Countertenors). They represent the blood-thirsty sporting mob in Act One, and the generally shiftless hangers-on of the Duke in Acts Two and Three.

Two Boys are about 10 years old. They are local country lads and Amiens’ companions who study music with him. They giggle at displays of affections, no matter from whom, and naturally, can’t see what all the fuss over kissing and cuddling is about. They often carry Amiens’ guitar when he’s busy doing other things, like the hunt scene in Act Two, Scene One.

5) Musical Setting note:

The metres used throughout the poem generally indicate the delivery style/tempo intended for the stage action. Eight syllable lines (octavo) are meant to follow the natural cadence of everyday speaking tempo, while decreases in the syllable count show progressively slower, more contemplative action. So, for example, a four-syllable line should take twice as long in performance as eight syllable ‘recitative’ lines. Likewise lines with more that the standard metre are meant to be faster than normal speech. Lines with less or more than eight syllables are indicated in bold typeface.

6) Text:

The following is based on William Shakespeare, The Complete Works. The 1904 Edition of the Shakespeare Head Press, Oxford. Arthur Henry, Editor.

Spellings have been standardized (mainly eliminating superfluous ‘U’s in words like ‘neighbour’, etc.), and past tense words ending in ‘ed’ have been spelled as such. Thus, the standard Shakespeare editorship convention of words like traveled being spelled ‘travel’d’ is omitted. For metrical sake, and naturalness of vocal delivery, I have avoided doubling the sound of ‘ed’, so as not to have it delivered on stage as ‘travel-ed’. I have retained esoteric spellings for words like ‘pickt,’ as these denote the way Shakespeare wanted the pronunciation to follow.

Notes for Touchstone –

Personal note

Dissecting As You Like It, I learned that Touchstone and Audrey are secondary comedians in a play about young, frisky love. These two are keener in knowing what they want from each other, possibly from having been around the block a few times. One immediately comic element about Touchstone, and let’s face facts, he is one of the best-loved of the Bard's characters, is how un-country he is. While amongst the country folks, be seems more urbane than in Shakespeare’s Act One. This made me think of Bernie Mac and his brand of humor, particularly in connection to the way Touchstone interacts with children.

I could not include them in the main action, because they go nowhere but together. However, in the classical opera tradition, there is a place for them. I thought how wonderful it would be to have them stand alone in brief scenes that go between the main Acts. Intermezzo are such works, and generally were written by a second composer to generate added variety and perspective. I’d love to see this extra pull and push happen to our ‘brave Touchstone’ and his city-loving shepherdess.

Personaggi

Cast:

Touchstone: - Professional funnyman. Mid 30’s. Large man, like a burly W.C. Fields or Bernie Mac. (If preformed in concurrence with As You Like It, the role can be played by as same actor as Charles)

Audrey: - Shepherdess. Beloved of Touchstone. Mid 20’s. Country girl, taken with Touchstone’s physical charms, the fact that he makes her laugh, and the prospect of becoming a city girl as "Mrs. Touchstone."

Man to Play: -

Vicar: - in Part One

Touchstone’s Rival: - in Part Two

Jaques de Boys: - in Part Two, middle brother of Oliver and Orlando

(If preformed in concurrence with As You Like It, the role can be played by as same actor as Oliver)

Two Boys - Country boys who play in the woods. About 10 years old.

(If preformed in concurrence with As You Like It, the roles can be played by as same actors as the Two Boys)

Sceneggiatura di Azione

Synopsis:

Action takes place in the woods around Napa, California, in current times.

Part One – Jove in a Thatched House

Scene One: “A Waste of Ingredients”

Deep in the woods, where dappled sunlight filters down through golden-leaved aspen and willows. Everything looks fresh and untouched by man. The action starts with the two boys carousing amongst the trees. As Audrey and Touchstone enter, the boys hide behind trees to observe, and later come out to tease Touchstone.

We learn that Touchstone is wooing Audrey and in the process slightly confusing the young lady (and certainly entertaining the two boys).

Arrangements have been made, and a local Vicar arrives who is both hard of hearing and in need of glasses.

Just in the nick of time, the boys warn the overly anxious Touchstone of a rival young man for Audrey’s hand.

Without much ado, Touchstone dismisses the vicar and tells Audrey they will be married soon enough.

Part Two – A Lover and his Lass

Scene One: “You Lovely Bully”

Same as Part One. The action starts with Audrey pursuing Touchstone. She wants to know why the vicar wasn’t good enough. Touchstone asks if there isn’t a rival, and she says she may know to whom he is referring. With perfect timing, the two boys escort a young man onto the scene. Touchstone makes small talk with the young man, then uses both his physique and bootless wit to intimate the rival. He flees, more confused than fearful. The boys congratulate Touchstone’s ‘bravery’ and sing a song for the happy couple. Touchstone says the way is clear for the Duke to marry them this evening.

Jaques de Boys arrives, explains he’s looking for his brothers and the rightful Duke to restore him to power. It seems the usurper Duke has quit to a monastery, and all will be restored to the right and rightful.

With this, the boys sing us to a happy ending.

Staging notes:

1) Stage Settings:

Stage settings and costumes reflect current times.

2) Coordination with As You Like It:

a) Ideally, per the tradition for variety, the Intermezzo should be by a second composer. If so, some coordination will need to be made on the vocal range of Touchstone and Charles.

b) Performance of the Parts should happen like this: Part One before the intermission, and Part Two between Acts Two and Three.

c) To integrate the Intermezzo characters into the third act finale, after Rosalind has delivered the epilogue, Touchstone and Audrey should appear with Jaques de Boys. While the Two Boys and divided chorus perform, we see Touchstone and Jaques de Boys confer with the Duke. The restored Duke throws his hands up in jubilation. Audrey and Touchstone sing with the principals in the final ensemble and kiss with the rest.

3) Costumes:

Audrey should wear rubber boots, trim and tidy jeans or chino, a thin-weight sweater, a soft cap somewhere between a beret and cabby’s hat, and she should carry a straight staff, about forty-two inches long.

The Two Boys should wear cargo shorts, tee shirts and tennis shoes.

Touchstone, per the Bernie Mac model, should wear a thin weight mock turtleneck sweeter with silk suit pants and jacket. He should accessorize with a stogie, gold chain and bracelets, and patent leather shoes. His urbane appearance should make him look out of place in the woods, and very different from Audrey.

The Vicar, as an old man, should have gray hair, crumpled and a worn-out-looking suit with ecclesiastical dog collar.

The Rival, should dress as Audrey does.

Jaques de Boys, should dress in current street clothes for a young man who is about 25 years old.

4) Properties:

In Part One: a bible for the Vicar.

In Part Two: one flower garland and two flower wreathes for the boys to ‘marry’ the couple.

5) Musical Setting note:

The metres used throughout the poem generally indicate the delivery style/tempo intended for the stage action. Eight syllable lines (octavo) are meant to follow the natural cadence of everyday speaking tempo, while decreases in the syllable count show progressively slower, more contemplative action. So, for example, a four-syllable line should take twice as long in performance as eight syllable ‘recitative’ lines. Likewise lines with more that the standard metre are meant to be faster than normal speech. Lines with less or more than eight syllables are indicated in bold typeface.

6) Text:

The following is based on William Shakespeare, The Complete Works. The 1904 Edition of the Shakespeare Head Press, Oxford. Arthur Henry, Editor.

Spellings have been standardized (mainly eliminating superfluous ‘U’s in words like ‘neighbour’, etc.), and past tense words ending in ‘ed’ have been spelled as such. Thus, the standard Shakespeare editorship convention of words like traveled being spelled ‘travel’d’ is omitted. For metrical sake, and naturalness of vocal delivery, I have avoided doubling the sound of ‘ed’, so as not to have it delivered on stage as ‘travel-ed’. I have retained esoteric spellings for words like ‘pickt,’ as these denote the way Shakespeare wanted the pronunciation to follow.