Love’s Labour’s Lost | July 7 – August 20

by William Shakespeare
directed by Dawn McAndrews

Sponsored by George and Elaine Keyes

..
The King of Navarre and his friends vow to spend three years in serious study, giving up sleep, food, and women. How inconvenient, then, that the Princess of France shows up with ladies-in-waiting to sway them from their vows. To avoid the temptation, the King orders that they be housed in a nearby field. In typical Shakespeare fashion, letters of love go misdirected and subplots abound—until a twist of fate makes the men keep their vows.

Schedule
Thursday, July 7, 7:30 p.m. (Preview)
Friday, July 8, 7:30 p.m. (Opening)
Saturday, July 16, 7:30 p.m.
Wednesday, July 20, 7:30 p.m.
Sunday, July 24, 7:00 p.m. (Post Show Discussion)
Sunday, July 31, 1:00 p.m.
Thursday, August 4, 1:00 p.m.
Friday, August 12, 7:30 p.m.
Wednesday, August 17, 7:30 p.m.
Saturday, August 20, 7:30 p.m.

 

Production Team

McAndrews_Dawn_bwDawn McAndrews
Director
Bilodeau_Dan_bwDan Bilodeau
Set Designer
rocha_elizabeth_bwElizabeth Rocha
Costume Designer
adelson_matthewMatthew Adelson
Lighting Designer
tippin_rew_bwRew Tippin
Sound Designer
samuels_leightonbwLeighton Samuels
Fight Director
Meyers_jeff_bwJeff Meyers
Stage Manager
ford_sarah devonSarah Devon Ford
Assistant Stage Manager
klute_amandaAmanda Klute
Assistant Stage Manager


Cast

glauz_robRob Glauz
King Ferdinand
loewenthal_jakeJake Loewenthal
Longaville
kopacz_tim Tim Kopacz
Dumaine
 white_chrisChris White
Berowne
holt_christopherChristopher Holt
Dull
 calzada_lucasLucas Calzada
Costard
 VanHorn_Bill_bwBill Van Horn
Don Armado
 pullen_michaelbwMichael Pullen
Mote
 etro_isabellaIsabella Etro
Jaquenetta/Maria
 hoban_jamesJames Hoban
Boyet
murphy_ericaErica Murphy
Princess
burke_kelseyKelsey Burke
Katharine
coons_blythe Blythe Coons
Rosaline
mariani_joe
Joe Mariani
First Lord/Mercade
cartier_mark
Mark Cartier
Sir Nathaniel
stevens_janis
Janis Stevens
Holofernes

 

20160707_TAM_Loves Labours Lost_AFP7356

Chris White, Jake Loewenthal, Rob Glauz, and Tim Kopacz | photo by Aaron Flacke

20160707_TAM_Loves Labours Lost_AFP7471

Bill Van Horn and Michael Pullen | photo by Aaron Flacke

20160707_TAM_Loves Labours Lost_AFP7685

Mark S. Cartier and Janis Stevens | photo by Aaron Flacke

20160707_TAM_Loves Labours Lost_AFP8080

Kelsey Burke, Erica Murphy, Blythe Coons, and Isabella Etro | photo by Aaron Flacke

From the Director

Love’s Labour’s Lost is a festival of language, an exuberant fireworks display in which Shakespeare seems to seek the limits of his verbal resources, and discovers that there are none.” Harold Bloom, Shakespeare: The Invention of the Human, 1998

Shakespeare’s play, that makes love with too many words, features the longest scene, the longest single word—honorificabilitudinitatibus (the state of being able to achieve honors), and the longest speech in all his plays. It is literally and figuratively stuffed with words. It also has all the hallmarks of his greatest comedies—mis-delivered letters, outrageous disguises, and soulful soliloquies overheard. There’s a play within the play and a gaggle of fools to keep the humor bouncing. But more than anything else, Love’s Labour’s Lost is a play about the velocity, veracity, and verbosity of language.

All this biting banter and salacious wordplay hangs on a suspiciously familiar plot—four young men swear an oath devoting themselves for three years to reading, writing, and abstaining from food, alcohol, and women. Too bad they’ve forgotten that the Princess of France and her ladies are arriving to discuss matters of diplomacy. If one boy meets girl plot is funny then four must be hilarious, right? The payoff is a comedy of sexual politics that may be transported nearly four hundred years into the future and still illuminate the eternal debate between male and female.

Lead by the Princess of France, it is the women who rule the field. They bring depth, power, humanity, and intelligence to the fray. Their battle begins with the rejection of the word ‘fair’—a description used for every aspect of the women’s bodies, minds, voices, and complexions. To live only to be a thing gazed at, adored, and defined only by their physical charms, even in poetry, is unacceptable. They want a mate to work, to act, and commit to a promise to make the world a better place.

In our production, the battleground is the Sexual Revolution of 1960’s England where the king has set-up the “remote” court of Navarre at Cambridge University. Here four beautiful women meet four beautiful men in a totally groovy place and, of course, love happens. Until the real world, as it must, comes crashing in. Enjoy!