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Arden, an adaptation of William Shakespeare's comedy As You Like It, offers what may be his funniest. most complex, and most sophisticated presentation of the ups and downs, ins and outs, and most especially roundabouts of love and romance.

Set entirely in the forest of Arden (Shakespeare's delightful and romantic pastoral paradise) and compressed from five acts to two, this adaptation was presented in 1999 at the Annapolis Summer Garden Theatre, an outdoor summer theater in Annapolis, Maryland.

From the Foreword:

As You Like It is probably my favorite of all of Shakespeare's works, and other than A Midsummer Night's Dream, his finest comedy. I adapted and directed the play (and reluctantly played Duke Senior) for the Annapolis Summer Garden Theatre in 1999. It was my only foray into directing, and a joyful one.

Annapolis Summer Garden Theatre is an outdoor summer theater in Annapolis, Maryland. The theater is in what was once a blacksmith shop right at the city dock. It is a wonderful space that produces wonderful theater experiences. There is even a tree growing in the audience seating area, which was perfect for this play.

Why adapt Shakespeare rather than produce it as written? The Annapolis Summer Garden Theatre is set in the courtyard of a property known as the Shaw Blacksmith Shop, the original structure dating back to the mid-1700s, when Annapolis was still a commercial port. The theater operates only in the summer, and Summer in Annapolis can be hot. Audiences don't seem to mind, since the theater is often sold out. But our audiences were more used to two-hour musicals than three-hour plays.

Perhaps I didn't give our audience enough credit. However, for better or worse, I decided to shorten the play. But rather than cut a line here and there, I chose to cut the entire first act, eliminating the setting of the court. This not only shortened the playing time, but it also had another effect that I liked a great deal. All of the play now took place in the forest of Arden, a perfect setting for this pastoral gem.

In addition, because our audiences were used to it, I realigned the scenes into two acts. This is perhaps not as unfaithful to Shakespeare's intent as it might seem, since the Quartos published during his lifetime has no act break. The breaks were added as (I think) a convenience when the Folios were published after his death.

Note: There was no bearbaiting between acts; just candy and soda in the lobby.

The audiences seemed to enjoy it all.

I know I did.

I hope you will too.

Stephen Evans