Love’s Labour’s Lost at the Royal Shakespeare

A Superb Production of a Difficult Comedy 

A-SH-Love's Labour's Lost (RSC) “Love’s Labour’s Lost” (British spelling) is a most difficult play to perform today, because it makes fun of euphuism, a way of writing that was both popular and much derided in Shakespeare’s day. Satire is fine, if the audience is familiar with what is being satirized. There are many Latin and Latinate words and phrases in the dialogue, making modern comprehension even more difficult. And many of the comic characters seem just silly to us.

Despite all this, a performance of LLL on an OpusArte DVD, as it was given by the Royal Shakespeare Company in 2015, is not only the best production of that play but possibly of any Shakespeare play I have seen.

Set at the beginning of World War I, it tells the tale of the King of Navarre (Sam Alexander) and three of his friends—Longaville, Dumaine, and Berowne—who vow to devote themselves to study and not to have contact with women for three years. Naturally, four women—the Princess of France and her three friends, Maria, Katherine, and Rosaline—arrive to discuss political matters; and the men are smitten. So much for vows.

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Edward Bennett, who plays Berowne

Berowne is the most interesting of the men, cynical but just as much forsworn as his fellow scholars, and Edward Bennett makes him quite likable. His love Rosaline is played with an equally sharp tongue by Michelle Terry. (These two are the Beatrice and Benedict of “Much Ado About Nothing,” reviewed on this website.)

Among the whacky characters are Don Armado (John Hodgkinson), his servant Moth (Peter McGovern), a constable Dull (Chris McCalphy), a schoolmaster Holofernes (David Horovitch), and a curate Sir Nathaniel (Thomas Wheatley). The actors somehow make them human—and therefore funny. I feel that the Princess of Leah Whitaker lacks that command and elegance the role needs to distinguish her from the other three women.

Among the directorial triumphs is the scene in which each of the lovers overhears the others read love poetry to their sweethearts. Setting it on a small section of a roof works perfectly. So does presenting the pageant of the Nine Worthies as a musical in a Gilbert and Sullivan vein. (Some liberties are taken with the text, but no harm done.)

The mood change at the very end is beautifully done, and the lovely song about summer and winter is enhanced with additional lyrics about love.

The dialogue is read slowly and very clearly; and these DVDs have the added advantage of subtitles, which are pretty much essential for this play. The bonus material is, for a change, quite interesting.

“Much Ado About Nothing” is also on an OpusArte DVD with the alternate title of “Love’s Labour’s Won.” These two sets are available separately or together in a boxed set

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