Trying to tell a story you can feel. How do you make the magic real? Love makes magic real. And is love bursting at every seam in Maryland Ensemble Theatre’s Summer Community Outreach production of As You Like It. And this isn’t just any As You Like It, it’s the one adapted by Shaina Taub and Laurie Woolrey (music and lyrics by Shaina Taub, source material William Shakespeare.) And it has the love of Julie Herber and Karli Cole, two sensational, inspirational, passionate co-directing choreographers infused in every step, note, and line. It is arguably the most joyously uplifting adaptation of Shakespeare, perhaps in the wider recognized theatrical canon, and certainly in the more recent canon of adaptations.

Welcome, folks, to Arden Forest by way of Scenic Designer Stephen Craig. It’s a beautiful, deceptively simple set. Birch-tree-bark painting covers the walls and the structural pilar pole, there’s detailing on the floor as well, hanging ornate runner rugs against the back wall and cube light fixtures (shout-out to Lighting Designer Shayden Jamison who has these all lit up in funky fun forest colors and manages to liberally splash various and sundry color washes throughout the performance to great emotional effect in the show’s lighting design) and that’s the essence of it. It allows for that ease of the forest to infiltrate the play space as well as the imagination. And while Rosalind may have doubts about wanting to live in her imagination (rightfully so, all things considered) this is one imagination-engaging set that you’ll want to live in.

Julie Herber, wearing the hat of co-director and co-choreographer decided to follow the law of threes and picked up a third hat— that of show Costumer Designer. And wondrously whimsical, fancifully colorful with hits of circus modernity and renaissance flare is a paltry description at best; words are just going to fail the epic experience that are these costumes no matter which words get used. There is so much vibrancy and vivacity in Herber’s sartorial selection, which is surpassed only by the vibrancy and vivacity of the cast themselves who are wearing the rainbow menageries of fantasy-fabrics. There are so many unique looks happening— from main players to ensemble and then some— it’s beyond inspiring; it’s earnest fun in fashion and further stimulates the components of whimsy and play hard and fast at work in this production.

Herber and co-choreographer Karli Cole further the exercise of joyful fulfillment in this production with their exuberant choreography. It’s hard not to want to get up and join in the fanciful frolicking as the ensemble is sashsaying, swishing, shimmying, swinging, and swaying all over the stage. It’s a communicable joy that just penetrates the spirit and lifts it right up to the Elysium-level paradise that the notion of ‘Arden’ embodies. “In Arden” has calypso vibes and moves to match and there are so many unique moves— all bursting with energy and infectious enthusiasm— even the mildly heavy moments, as it can’t be joy-blast-overload for the entirety of the play— have a grace to their movement efforts. Cole and Herber craft intention behind their choreography as well, it’s more than just a party; you have quite a few bodies on stage and limited play space to work with and yet you feel like you’re in a vast forest where the party could be going for days on end. Personal favorites include that step-point glide that is a recurrent amusement every time the trio of Minions appears to announce Duke Frederick (that number, brief though repetitive, is such a bop!) and the dance palooza that rolls on from the gathering for a quadruple wedding through to the show’s conclusion. The choreography is refreshing, effectively and aerobically executed and makes real magic come alive on stage.

Herber and Cole also understand the nuance and intricacies on blocking a show around the almighty totem that keeps the ceiling aloft in the basement of the Main Stage. Sightlines matter in this venue and it takes insight to master it; Cole and Herber possess that insight and translate it with strong efficacy onto the stage. The play itself has little moments of hyper awareness and Herber and Cole pay an appropriate nod to those without it pushing it too far into the ‘fourth-wall-oblivion’ territory. Timing, pacing, and allowing these talented young teens to develop these characters is what makes this production extra radiant.

With a cast of not quite 30, there are praises to be spread gloriously abound, but especially to Musical Director Angelica Ramos (oh, and by the way, it’s a musical!) Leading the live band, carefully tucked out of the way for balance purposes, Ramos plays Keys1 and conducts Dylan Gani (also Keys1) Nick Snyder on Keys2, Deigo Manzon on guitar, Paulo Vallecilla on bass, and Lawrence “Larry” Larbi on drums. You get a boost of energy and feel-good vibes from the live music and the vocals that Ramos succeeds in coaching from this cast of not quite 30 are powerful, emotionally infused, and elevating the whole experience to the next level of glee.

Nearly everyone doubles up in the ensemble, as a named character, or featured dancer and the vibes that are rolling through this cast are incredible. You can tell it’s a passion project for these young performers, who are not only enthusiastic about being on stage, but they’re wholeheartedly embracing the Shakespearean components (and impressively well at that), enjoying the singing and dancing, and just throwing their whole theatrical hearts into their efforts; it makes for resplendent theatre that will light you up like a spectacular rainbow fireworks display.

Let’s start with “The Minions”— Alex Harris, Alex Pietanza, and Addy Stacey. This is the memorable dancing trio who side-swoop-step and arm-point their way in as the harbinger-chorus of Duke Frederick. That vile villain gets his own theme music by way of Harrs, Pietanza, and Stacey and their harmonizing blends over that wild little bop is fierce. And for as fierce as they are vocally, they’re matched energy for energy by the De Boyz Dancers— Addison Irons, Kenzie Middlebrook, Luca Milliken, and Addison Williams. You see this quartet as the mood-setting backup dancers for both Orlando and Oliver in their respective ‘Boy-Band-solo-croon’ numbers, all wrapped up in their dark sunglasses, backwards flung baseball caps, and enough attitude to jumpstart a trip down memory lane to the iconic Backstreet Boys vs N*Sync battles of the 90s. And their dance moves are giving RIZZ. Add to this menagerie the Ladies in Waiting— Madi Graham, Tallulah Hammel, Kenzie Middlebrook, and Izzy Wood, who dash all around Rosalind in her “Under the Costume Number” serving up fierce servitude vibes. Some of them also hold the floating portrait frames during Orlando’s “The Man I’m Supposed to Be” and that effect (movement and all) is quite striking.

Of course, As You Like It is one of those shows that has a wrestling match in it. It might be Shakespeare’s only foray into the ring (don’t quote me on that) but if you’re going to have a whole musical number about it— “The Wrestling Match”, which once again features the talents of the entire ensemble, singing, and spin-dancing all around the ring, which is meticulously fenced in just in front of the support-pole— then you have to have both the Champion and a series of challengers! Sean Hoffman shows up as Frankie Flow, the first challenger, followed by Dylan Poirier as Caveman. And then of course the throwdown with Orlando, but all of that happens around the Duke’s champion— Bronco (Kyrie Fisher.) And he makes for a great entertainment inside the ring. Fisher also doubles up as Adam, the poor ‘old’ servant who gets dragged along behind Orlando into the woods of Arden and following his journey there is really delightful as well.

We even include Martext (played brilliantly by Ena Vajzovic) in this adaptation, however briefly, as some comedic turmoil between the infamous Touchstone (Hex Hayden) and Andy (Ethan Mount.) Of course William (Ryan D’Amato) serves as plentiful friction in that coupling as well. D’Amato only appears briefly but in that whole ‘telling-off-scene’ where Hayden’s Touchstone verbally dispels William— the body language and facial expression responses on D’Amato are priceless and hilarious. Mount, as the bucolic bumpkin Andy, has this wildly affected moseying southern drawl happening in the character’s speech patois and it’s pretty dang funny. Mount actually shares a duet with Hayden— “Will U Be My Groom?” and it is not only adorable but exceptionally well sung as both have lovely, mellifluous voices that blend harmoniously together.

When we’re talking about villains in this show, you can’t completely overlook Oliver (Dominic Napper), the brother of Orlando, because he does start and, for the most part, stay an antagonizing knave. The vicious nature with which Napper approaches his poor brother is vigorously palpable, and you get to hear his voice blended earlier in the production, though his true moment of vocal reckoning comes much later when he’s singing “The Lion and The Snake.” But the dichotomy of his sincerity in singing that number while Orlando is sneaking around chewing scenery as a re-enactment is brilliant. Of course the other reigning villain is Duke Frederick (Gavin Gonzales), ruler of court, father of Celia, brother of Senior. Gonzales, whose arrival is announced in full-chorus by his trio of minions, doesn’t just arrive into a scene— he makes an entrance. There’s flare, there’s panache, and there’s nefarious attitude, all of which hover around him like his own personal cloak and crown. Gonzales is serving up Royal-Resting-Rage-Face-Tude and it services the role extremely well, which makes the ending that much more powerful.

It’s only the first portion of the performance that’s spent at court; most of As You Like It takes place in the Forest of Arden— banishment and fleeing to exile and all that— where you’ll meet a merry-band of merrymakers and then some. Luca Milliken and Maurlea Long as Papa and Mama Corin and Jen Jeon and Grace Cromartie playing Miss Amiens and Senior’s Attendant, and oh-so-many aforementioned others all living up their party life out in the forest.

And the most wildly unhinged…I hesitate to say ‘couple’ because it never starts off that way in Shakespeare’s chaos-comedies and AYLI  is no exception… but Siliva (Hannah St. Michel) and Phoebe (Alex Ramos) are running away as scene-stealers in this production. St. Michel has a voice that just flourishes and thrives when she hits her moments in song during “You Phoebe Me” (and that song is a hoot!) and the way she simps and dotes and chases after Phoebe is just so precious and perfectly executed, hovering right over that line of campy but never being too over the top. Ramos, as Phoebe, is all over the top and dynamic juxtaposition against St. Michel’s Siliva is sublime. Ramos has the audience in stitches with all of her gesticulating, insanely intense body language and her feral facial expressions; she’s a proper riot. And she’s got this extraordinary stretching lower alto-tenor range that is just mind-blowing and beautiful, so when she gets to launch bits in “You Phoebe Me” and “Getting Married Tomorrow”— the race-around quartet-octet— you’re hanging on her every word.

Jaques, ah Jaques…so melancholy, so modern, so incredibly talented, switched-on, and on-point is the individual playing this character in this performance: Onyeka Obodozie. The show opens with this gorgeous primer number, “Prologue: All The World’s A Stage” where Shaina Taube’s lyrical brilliance shines through with radiant resplendence (I mean there could be essays about Taube’s skill but this is widely known and it’s these terrifically talented teens who’s talents I’m here to praise) and in the vocal powers of Obodozie, this number radiates like a glistening summer sunrise on the audience, welcoming them into the experience. Obodozie glides into this number, which eventually includes the entirety of the cast in one way or another, with such pure sounds, even balance in her tonal quality and a sense of curiosity, wonder, and adventurous engagement. Obodozie also possess a cheeky and snarky personality component when clapping back at Duke Senior (the incomparable Finn Martinez) during “In Arden.” It’s just so much fun to watch Obodozie play this character and her voice is extraordinary. She’s even joined by her real-life little sister, Kosi Obodozie, at the end for “Epilogue: All The World’s a Stage” playing Lil Jaques and Kosi’s voice is of similar talent to her sisters; the visual and message in that moment is truly beautiful.

As the Bohemian Ruler of the Forest, Finn Martinez makes Duke Senior this welcoming, festive entity of peace, love, harmony, and happiness. I would want to be welcomed by Martinez’ Duke Senior any day that ends in –Y. There is something sweetly felicitous and simultaneously earnest about the way Martinez approaches the character and the character’s relations with others in the show. And they move with a giddy enthusiasm whilst delivering clean choreography, it’s a valuable and expressive skillset to have! Not to mention Martinez’ glorious voice, which lends itself sublimely to “In Arden” and the peace-making song “Under the Greenwood Tree.” Keep your eye on Martinez all throughout the various Arden dance parties; it’s such joviality in action!

Lucy Campbell, playing Celia, does a magnificent job of creating a character out of one of Shakespeare’s leftovers. Particularly in this adaptation, where Celia is featured heavily as an attaché to Rosalind’s banishment, Campbell finds all kinds of clever ways to be noticed without pulling focus, to be present without being distracting, to add those little pops of happiness and silliness and humor at exactly the right moment. And the meet-cute between Campbell’s Celia and Napper’s Oliver is so adorable; their chemistry is truly ‘instant Shakespeare.’

Adrian Cabrerea, as Orlando, and Ruby Waldo, as Rosalind, do a phenomenal job of filling out these woodsy-meet-cute lovers and finding their own personalities within the guises of these prefabricated Shakespearean archetypes. Cabrera has a burning soul, which he pours into “The Man I’m Supposed to Be” and you can feel all of his anguish and self-doubt and need to prove himself right from jump-street in that number. Watching his comedic versatility playout is also quite impressive because once he gets stupid-in-love with Rosalind (and Ganymede) going on, it’s a gut-busting, laugh-out-loud series of comedic moments that are delivered pricelessly. Cabrera has a clean, clear pitch, good handle on his lyrics when singing and really understands how to put emotion into his songs.

As Rosalind, Waldo is the quintessential triple threat: she moves and dances around well, she’s got a beautiful voice that is nuanced, extremely well versed in articulation, diction, and patter, and she’s got a handle on how to deliver character inside both song and text. You are Team!Rosalind from the moment Waldo starts in on “Rosalind, Be Merry.” That number is wildly complex, both in its lyrics, and it’s emotional drive and she nails it flawlessly and with ferocious intention. Waldo also really plays up her ‘switch’ into Ganymede so that it’s obvious and yet not obvious that she’s still Rosalind, another perfect balance moment. Her voice is truly stupendous, her chemistry with Cabrera’s Orlando feels so authentic, and overall she gives a brilliant performance.

It’s a remarkable experience; truly joyous and uplifting— and these 29+ performers and the creative team and crew behind this Summer Community Outreach production of As You Like It is making theatre magic in earnest. And their love— for each other, for the community, for the craft, for the world— is honestly the real magic in this show! Do not miss this chance to have your spirits elevated to the highest of joys this weekend only on Maryland Ensemble Theatre’s mainstage!

Running Time: Approximately 95 minutes with no intermission

As You Like It plays through June 28^th 2026 as a MET Summer Community Outreach production performed by students on the Main Stage of the Maryland Ensemble Theatre in the Historic FSK Hotel building— 31 W. Patrick street in downtown historic Frederick, MD. For tickets call the box office at (301) 694-4744 or purchase them online.