A dreamy scene featuring a figure dressed in a woven, nature-inspired outfit surrounded by trees, flowers, and cosmic elements. The setting blends nature and machinery with vibrant mushrooms and gears.
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As You Like It

By William Shakespeare
Directed by Lisa Peterson
April 16 – October 25, 2025 Thomas Theatre

Love will find a way

The Forest of Arden comes to life in the Thomas Theatre when Rosalind and her cousin Celia escape an oppressive uncle and take to the wilderness. Disguised as a man, Rosalind searches for her true love, Orlando—who doesn’t recognize her in her new persona. But anything can happen in the forest, including poems in the trees, star-crossed shepherds, and a band of exiles who become family. Identities are lost and true selves are found in Shakespeare’s beloved comedy, bringing its magic to our most intimate theatre in this song-filled, 1960s-infused production by director Lisa Peterson (Hamlet, 2016).
Tickets!
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Prices start at $36

 
Suitability Suggestions
This delightful comedy is suitable for all ages, but be aware that the language is often complex. Due to the multiple subplots, it will be best enjoyed by students who have some preparation.

For additional content warnings regarding violence or graphic depictions that may be upsetting to some audience members, please see our Content Warnings page (may contain spoilers).
Accessibility
The Thomas Theatre is outfitted with an elevator to the theatre level.

The Oregon Shakespeare Festival is committed to accessibility. We recognize the needs of persons with disabilities and strive to make our facilities and productions accessible to all. Please visit our Accessibility page for details about 2025 programs and services as they develop.
A group of people sits around a long table, engaged in discussion or taking notes. Some are speaking animatedly, while others are focused on their papers or devices.
Lisa Peterson
Director’s Notes

Lately I’ve been really struck by the division between generations in As You Like It. This is a play about extremely different fathers, and the ways that a new generation always has to reinvent the world they live in. I began thinking about periods in American culture where the generational divide felt especially keen; where the idea of inventing a “new” kind of lifestyle was foremost. I began to think about my own youth, growing up in Northern California, the daughter of an architect and a weaver, and how much nostalgia I felt for, well . . . not the ’60s, exactly, but an idea of the ’60s. Along with my remarkable design team, we began to imagine building a world for this production that is set now, or really in the near future—but inspired by a kind of dream of the ’60s, a countercultural Arcadia. This adventure begins in a Court that is stylish but restrictive. A world where music isn’t allowed, where women must wear hip but uncomfortable shoes, where the only form of entertainment seems to be violence. And then, when our Rosalind is banished, we discover with her that there is an alternative to this plastic Court: a world where craftspeople and music are everywhere. This Forest of Arden is a kind of dream of a better world, where each individual is challenged to reinvent and define themselves . . . and maybe even find their soulmates.

In the world of the Court, families are treacherous; in Arden, families seem to be chosen, and created out of whole cloth. The energy of music, and of making things, attracts even the darkest souls. The terrors of falling in love, declaring that love, the rituals of dancing and hunting and building a more chaotic + pagan + equitable world are all themes running rampant through this hippie fantasia of a play. Maybe we all dream of a wilder, better place where we can be our best selves. I invite you all to journey through the shadows and the light alongside Rosalind—one of Shakespeare’s greatest creations. Rosalind takes the lemons of banishment and turns them into the lemonade of a new (male) persona and an adventure in the woods. Who wouldn’t want to run away to Arden with this creature?

—Lisa Peterson

Creative Team

Cast

* Member of Actors' Equity Association (AEA)
** AEA Professional Theatre Intern

Understudies

Thomas Theater seating chart.

OSF thanks our show sponsors

  • LEAD SPONSOR
  • Hitz Foundation
  • PRODUCTION PARTNERS
  • Kelly Bulkeley and Hilary Krane
  • Bryan and Stephanie DeBoer
  • Flying Pigs Aviation, LLC

OSF's 2025 Season