Ashland's As You Like It was an actor's show, though the actors, it seemed to me, might have found even more in the script had they been given an imaginative set with which to work. That with which they did work, an almost-naked stage modestly covered with fig leaves, certainly never obtruded into audience sensibilities, but neither did it inspire in the love-sick couples of the play any of those endearingly silly antics in which lovers are wont to indulge. When starry-eyed, the actors bumped into the exit arch or into the post supporting the inner-above. Orlando, dashing across the stage with his testaments of love, appeared ripe to swing from some branch or hurdle some fallen log; finding none, he turned to vocal and facial expression so excessive as to appear almost lecherous. One can only note that the actors were not inhibited in their movements by any stage properties. Arden had the lower stage all to itself, the later Court Scenes holding forth from the inner-above. Philip Davidson, a Festival veteran, portrayed Touchstone as a human being, a man whose wit seemed to spring not so much from a brilliant text as from his own wry observations of the world around him, and whose bodyslow, a little overweight-seemed to insist on the humanity of the sprightly wit encased within it. This Touchstone seemed to harbor some genuine feelings for Audrey. Confronting William, Touchstone wreaked his anger on his own hat, tossing it, biting it, stomping it. His antics were the mad antics of a lover, the better set off by his humanity. His actions, while not entirely destroying the cynicism of his worldly love, diminished it, replacing that loss with a comic middle ground lying somewhere between the love antics of the purely pastoral and the purely courtly lovers. The effect was delicate and compelling. Jaques' interpretation of Touchstone's time speech, illustrated by various tricks with a knife and one of the apples Jaques seemed drawn to in this production, provided another actor's moment. Denene Von Glan, as Rosalind, offered audiences the kind of theater experience Festival supporters have come to expect at least once in a season, the experience of witnessing real talent cross the threshold into professional maturity, retaining still all the blush and joy of apprenticeship. The Merry Wives of Windsor production began on a note of realistic rusticity-dogs, chickens, and goats mingling with the citizens of Windsor in the market place; it ended with a giant fairy mask roaring over the heads of the audience, the effect of which was pure theater. Between these opposite approaches to the play appeared minor polarities in acting style. The production was entertaining but never consistent. While the merry wives Ford and Page, Sir Hugh Evans, Bardolph, the Host of the Garter, and some others found their humor in playing the comic situations, Falstaff, Mistress Quickly,