Banished from court, Rosalind flees with her cousin Celia to the magical Forest of Arden, where she disguises herself as the young man Ganymede.

The interesting decision is that Jonathan Groff is mostly just playing Jonathan Groff, as he often seems to do. Meanwhile, although they aren’t played by women, the other three are played as women to variously convincing degrees, especially Fisayo Akinade’s thoroughly demure Celia. You get the sense that Groff’s Ganymede, shorts and vest and all, is closer to his truth than his Rosalind. Perhaps, too, the others are finding their own truths in the Forest of Arden. Whether exactly that constitutes salient commentary on gender performance or queer eroticism, whether it’s progressive or regressive in 2026, I leave to the experts. I appreciated that the production doesn’t beat you over the head with message - it just offers itself up for your interpretation. This is otherwise a very well-executed straight-up revival, with impressive staging and especially sound design. Groff’s pretty good, but some of his costars seem a little more at home with the language.