It’s been too many years since I last trekked up the hill to soak in a classic Shakespeare play. If American Players Theatre’s new staging of As You Like It is any indication, I’ve missed out on a lot of magic. Presented under a clear sky and touched by a gentle breeze, the opening night performance on June 13 was a potent reminder of how lucky we are — if there is a more perfect way to spend a Wisconsin summer evening, I’ve yet to find it.

This season’s program booklet includes a lovely tribute to former producing artistic director David Frank, who passed away last summer. I imagine he would have been enormously proud that APT is the recipient of the 2026 Regional Theatre Tony Award. The award is on display outside the theater and audience members are invited to take photos posing with the trophy. The result on Saturday night was a fairly hilarious pre-show spectacle of selfies.

Onstage, tensions in the court are high as royal families are torn apart due to petty jealousy and strife between two sets of brothers. Duke Frederick (Gavin Lawrence) exiled his older brother Duke Senior (David Alan Anderson) to the woods. Oliver (Rasell Holt) cannot seem to explain his disdain and ill treatment of his younger brother Orlando (Derrick Moore). The two tussle and skirmish before Orlando meets Rosalind (Samantha Newcomb), the daughter of the banished Duke, and Celia (Sola Thompson), daughter of the banishing Duke.

Orlando is immediately smitten with Rosalind but is flustered and tongue-tied. Duke Frederick learns of Orlando’s lineage and ousts him from the court and soon decides that Rosalind should be banished to the woods as well. In the aftermath of this upheaval, we see the strong bonds between several pairs of characters.

In a tender scene between Orlando and his aging servant Adam (James Ridge), Adam offers his time (limited) and treasure (meager) to Orlando and, in a moving show of loyalty, accompanies him to the forest.

As this romantic comedy progresses, there is much to-ing and fro-ing in the woods, with dangerous beasts, additional couples in various stages of lust and love, and ultimately forgiveness and grace.

What a wonderful cast director Laura Rook has to work with. Rook’s staging is deft and cohesive, designed to wring every last laugh for all it is worth. This is an evening of rich belly laughs.

As Celia, Thompson is exactly the kind of sisterly best friend you’d want, dedicated and loyal but also not shy about pointing out when you are being ridiculous. Thompson possesses priceless comedic timing and a withering side eye.

Newcomb, as Rosalind, perfectly straddles the line between sensible and quixotic, genuinely funny when trying out macho posturing and giddy with love when she discovers Orlando’s prolific (though not profound) poetry. Newcomb’s engaging smile and expressive face make her an easy protagonist to root for, and it doesn’t hurt that she has terrific chemistry with both Thompson as Celia and Derrick Moore as Orlando.

As for Moore, he too makes an incredibly appealing Orlando, covering the stage with an energetic goofiness that never dulls and rather embellishes his heartthrob edge.

As melancholy Jaques, a nobleman loyal to Duke Senior, David Daniel, now in his 27th season with APT, delivers one of Shakespeare’s best-known known monologues, “All the world’s a stage,” and explains the seven ages of man with a thoughtful clarity that makes the familiar speech feel newly resonant.

Touchstone, typically played by a man, is t here played by Elizabeth Ledo, an actress with quicksilver wit and spritely physicality, who provides a delicious take on the role, particularly in her scenes with lusty and rustic Audrey (Hannah Ruwe).

Excellence is achieved in so many roles, it would be a shame not to mention several more cast members: Nate Burger as the wise and helpful shepherd Corin; the forthright Emma Schuld as Phoebe, who is crushing on Ganymede while being pursued with ardor and urgency by Silvius (Josh Krause); and the charismatic Holt, who manages to be magnetic even when treating his brother Orlando poorly and especially when conveying instant and palpable chemistry with Thompson.

Costumes are by Rachel Anne Healy, who works with muted earth tones (the exceptions are Touchstone’s colorful costumes) and some lovely leather work thrown in. Spoiler alert: Healy is also a very talented puppet maker.

The set, from co-scenic designers Lawrence E. Moten III and Daniel Allen, is minimal yet evocative. Andrew Hansen, who provides both music composition and sound design, did particularly good work, writing gorgeous and tuneful music for the charming songs peppered throughout the play. You may find yourself humming on your way back down the hill.

The production runs through Oct. 4.