Evans’ decision to explore these themes through the lens of an all-male production is the riskiest of his choices. But it is a risk that pays off and that allows the cast to explore masculinity in the round.

In the opening scenes, the masculinity on display is toxic. The hand-to-hand fight between brothers Orlando (Elliot Barnes-Worrell) and Oliver (Caleb Roberts) is filled with venom, as is the wrestling match soon after. Arranged by Oliver with the intention that Orlando shall be killed, violence is turned into a spectator sport, and a soundtrack conveys the sense of a baying crowd.

In contrast, the scenes between Rosalind (Jonathan Groff) and Celia (Fisayo Akinade) that follow give space for a very different expression of manhood. In Rosalind, emotions run riot as grief for her banished father is replaced by the thunderbolt of love when she first sets eyes on Orlando. The chemistry of the moment is intense. Her cousin Celia, meanwhile, is flirtatiously feminine. Akinade’s performance finely avoids the risk of parody by presenting a Celia who portrays authority alongside a sense of fun. The relationship between Groff and Akinade as Rosalind and Celia is both authentic and tender.

As the feelings between Rosalind and Orlando are played out in wooing scenes between Orlando and Ganymede (Rosalind incognito, as she has now also been banished), the sensuality, with its play on homoerotism, is magnetic, and the binary notion of gender simply dissolves.

The decision to do away with Shakespeare’s song lyrics and to use Welsh love songs instead is a further pushing of boundaries. Again, it succeeds. Myfanwy and Ar Lan y Môr, sung by the beautiful voice of Rhys Parry Jones, and supported by the ensemble’s a cappella, are steeped in emotion. The lullaby Ar Hyd y Nos is an interesting choice in place of Hymen’s marriage blessing. And the song Where the Hell’s My Husband, yelled out by Audrey (Gareth Snook), is a fantastic spoof of romantic love.

Although the RSC is known for its complex staging, the set in this production is groundbreaking and breathtaking although, just possibly, a step too far. On press night, a malfunction led to a forced break in the first half of over an hour whilst technical issues were fixed. Daniel Evans’ appearance on stage to restart the show was welcomed, and the audience’s patience was rewarded with the roll-out of an extraordinary second tier of staging. The Forest of Arden, with its forest glade and huge grassy banks, are enough to make anyone gasp, the height of the grass a feature in itself, as characters appear and disappear within it.

The second half of the play provides a platform for a host of lesser characters, from the subversive Touchstone to the melancholy Jacques, and from the unlearned Audrey to the disdainful Phoebe. Each provides a foil to the idea of romantic love and enhances the depth of feeling shown by those truly in love.

Jacques (Richard MCabe) is the antithesis of everyone, particularly in his speech All the world’s a stage. Dressed in yellow beret and long yellow scarf, with cigarette and sunglasses as accessories, his mood changes from cynicism to despair as he scrolls through the seven ages of man.

If accents are anything to go by, most of the inhabitants of the forest are Welsh. Again, a fine line is drawn, with the risk of parody on the one side. But a speech by Corin (Rhys Parry Jones) with a distinct Welsh lilt, saying that he is a labourer, is full of pride and dignity and steers things to the right side.

With strong performances across the whole cast, Jonathan Groff and Fisayo Akinade are standouts, and the second half is Groff’s for the taking. His performance is charismatic, emotionally intelligent and humorous into the bargain. Although Celia is a lesser character to Rosalind, Akinade’s performance means that she pervades events even without speaking. His facial expressions and hand gestures speak volumes and his timing is impeccable.

If the cast on stage has as much enjoyment from this production of As You Like It (and all the evidence is that they do) as the audience seems to, then this is a winner for the RSC.

As You Like It was directed by Daniel Evans. Set designer was Anisha Fields and costumes were designed by Colin Richmond. Composer, arranger and music supervisor was Theo Jamieson and sound design was by Paul Groothuis. The fight director was Kev McCurdy.

It is on at the RSC, Stratford until 7th November. For further information see rsc.org.uk.