As You Like It, Commonwealth Shakespeare Company, Boston Common through August 10th. Free.

Steven Maler—in his director's note for the Commonwealth Shakespeare Company revival of "As You Like It"—calls the contrast-rich play "truly one of my favorite of Shakespeare's comedies." Indeed, it is not difficult to understand the company founding artistic director's judgment.

After all, this love- focused work often centers on quick—witted Rosalind, arguably the finest heroine in Shakespeare's comedies (Beatrice of "Much Ado About Nothing" notwithstanding). As Maler announced opening night, CSC intends to celebrate its 30th anniversary next year with a return to "A Midsummer Night's Dream."

If fairies and magic dust help to create the enchantment of "Dream," caring, kindness and character transformation make the disarming "As You Like It" a spellbinding achievement. Under Maler's loving direction, the CSC revival should be instantly likeable for the most demanding Shakespeare buffs.

Much of the production's likeability begins with a striking opening set from designer Riw Rakkulchon that immediately establishes the contrast between kind Duke Senior and initially tyrannical usurping brother Duke Frederick. Downstage and backdrop posters signal Senior's commitment to peace and liberty and Frederick's ongoing determination to control and surveil his citizens.

Fight choreographer Ryan Winkles turns the early wrestling match between young hero Orlando and expert competitor Charles—favored by court -based Frederick—into a riveting bout. Once Rosalind—Senior's banished daughter—and her loyal best friend and cousin Celia—Frederick's daughter—head for the Forest of Arden, the CSC stage transforms into a greenery—rich haven with a striking backdrop tableau inspired by the art of French painter Henri Rousseau. This smart scenic contrast mirrors the multiple transformations throughout the play—ranging from the eventual changing fortunes of the Dukes and Orlando and his tough-minded brother Oliver to the 'happy ending' pairings brought to full resolution thanks to the resilience and cleverness of Rosalind.
Equally happy at the Boston Common is the pairing of Maler's inspired direction and a stellar cast with many gifted local actors. Nora Eschenheimer is transcendent as Rosalind. Her portrayal proves definitive in its breathtaking combination of verbal wizardry, playfulness and heartfelt earnestness. Eschenheimer and Michael Underhill—wonderfully impulsive and agile as Orlando—display the kind of singular chemistry that distinguished their work as Miranda and Ferdinand in the CSC 'S memorable earlier staging of "The Tempest."

Paul Michael Valley captures enigmatic outsider Jaques thoughtfulness as well as his cynicism. Valley delivers Jaques' iconic Seven Ages speech with expressiveness and notable phrasing. John Kuntz—vividly attired in argyle and checked outfits by costumer Miranda Giurleo—makes his very good most of Touchstone's braininess and whimsy—especially in the insightful clown's difficult and rewarding seven degrees of lying speech.

Gifted Maurice Emmanuel Parent easily moves from cold Duke Frederick--who emotionally abuses both Rosalind and Celia (whom he calls a ''fool") —to the warm Duke Senior (a traditional double portrayal). Clara Hevia is properly understated but discerning as loyal Celia. Joshua Olumide proves very convincing as initially harsh Oliver praises and supports Orlando in the later going and proves a fitting match for Celia. Brooks Reeves has all of sage Adam's wisdom and moral clarity.

Vocally gifted Jared Troilo is a repeat scene stealer as forest community rallying Amiens, and David Reiffel punctuates moments of pastoral rapture with affecting music composition and sharp music direction.

Rosalind-uniquely the epilogue here-speaks of her way as a conjuring and hopes the play may please both men and women. Eschenheimer conjures brilliantly throughout as does the summer's outstanding Hub ensemble. Likewise, the CSC's exuberant ":As You Like It" is an equal opportunity pleaser.