As You Like It, Aquila Theatre with Shakespeare Festival/LA. At the Botanical Gardens, 26300 Crenshaw Blvd, Palos Verdes, CA 90274, July 23-26, Thurs-Sun at 8pm. http://www.shakespearefestivalla.org/mainstage/palos_verdes.php

All the world’s a stage
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts
- As You Like It Act II, Scene IV

Aquila Theatre has taken this oft quoted text to heart in their current production of As You Like It, which is having it’s US premiere at Shakespeare Festival/LA. Founded in London in 1991 by Peter Meineck, the company transferred to New York City in 1999 when Meineck obtained a teaching position at NYU. Since its inception, the company has focused on touring and education.

“This production is distinctive,” states Meinick. “It’s the most convoluted and confusing of all Shakespeare comedies. Its strength is that it plays around with gender and identity.” Which the director Kenn Sabberton has embraced fully in his clever direction and staging.

“We are a very physical company,” says Meinick. One of the joys is that the audience sees “the actors mutating into other characters.” In terms of staging, it accentuates “the idea of ‘play.’ “If the audience gives into their imaginations,” he stresses, “they will really enjoy the theatricality of it. It’s a very human staging, there’s nothing flashy about it.”

Aquila premiered this production in Greece. “We’ve been going to Greece for three years now” for the Festival of the Aegean in Syros. “We rehearsed in Greece which was great for new members; taking them away from home helped bring the ensemble together.” Besides, “It’s fitting for us to do Shakespeare in Greece. Shakespeare sets a lot of his plays in the Mediterranean so there’s a connection there.”

Meinick is elated to be doing the US premiere at Shakespeare Festival/LA. “I’ve known Ben [Donnenberg, Artistic Director of SF/LA] for awhile,” says Meinick. “We met through the NEA Shakespeare in American Communities which [Aquila] helped found.” Aquila’s first show at SF/LA was The Comedy of Errors, since then he’s been trying to persuade Donnenberg to come back.

“Our dates lined up so thankfully it worked out.” He encourages small companies to do more co-productions. “It makes sense financially and artistically to share the costs, especially now. It’s a win-win for both organizations.” Theatre companies and artists can be competitive. “We have to come together if we want to survive.”

Touring is a key factor in Aquila’s mission. “We’ve never not been a touring company. It’s the life-blood of Aquila. We tour about 50 venues all over America.” Rather than just sticking to the coastal regions and attending big festivals, Aquila travels to small towns in Middle America. “It’s a shame how little first rate theatre reaches all of America,” claims Meinick, “Rural areas aren’t served.” Those who don’t have the exposure are the ones who need art the most. “It’s important to challenge people and make them think, that’s what art is for.” He adds, “Sometimes a small town can have the most amazing reaction.” Wherever they go, they do workshops and educational programs.

Sometimes artists don’t want to tour. “A lot of artists worked hard to leave their small towns and don’t want to go back. But usually it was a touring company that first inspired them. At heart, we tour and schlep around. That’s how Shakespeare’s plays were first spread. We’ll go anywhere, I’m not proud to say it,” he says with a chuckle. Most importantly, “we believe in bringing the greatest works to the greatest number of people. Get it out there!”

What excites Ben about this piece is that it’s simply “a beautiful piece of work. And the actors are really good at what they do.” At Aquila, the actors are put front and center. “We tour over 50 venues, some state-of-the-art, some…” well, not so state-of-the-art. “The actor needs to be completely in charge.” In addition to acting, they are in charge of their own costumes and props. There’s no one else there to help them.

Meinick warns, “If an actor isn’t completely invested in the production, it will fail.” Whenever actors show interest in joining Aquila, Meinick tries to put people off on what he calls “commando theatre.” He stresses, “Aquila’s not for everyone. They have to want to live and breathe in the theatre.” That is evident in their commitment not only to their roles but also to Aquila. Perhaps that is because at Aquila, actors are actually paid a living wage. A huge feat that few ensemble theatre companies achieve. As a theatre community, “we need to make it possible to make a living as a theatre artist.”

On a more serious note, one of the actors had to fly home for a family emergency. Therefore Sabberton has had to step in. And even Shakespeare Festival/LA’s own Donnenberg has also stepped in for the director’s small role. “We don’t have understudies,” says Meinick. However, the show must go on.

Meinick hopes that audiences enjoy As You Like It and have a great time. “It’s a great night out and it’s such a cool place to be in downtown LA. If you’ve never seen Shakespeare and are afraid of being bored, give it a shot. After all, it’s free.”

Feature Image of (L-R) James Lavendar, Leandra Ashton and Vaishnavi Sharma in Aquila Theatre’s production of As You Like It, presented by Shakespeare Festival/LA. Credit: Marshall Bissett, 2009