Elaborate set design, ornate costumes and British accents filled the stage as I admired William Shakespeare’s Love’s Labour’s Lost. The cast of the Globe Theatre set me happily in my favorite city, London. However, I was not in England, but instead near the sunny beaches of Santa Monica, Nov. 28.
At The Eli and Edythe Broad Stage of the Santa Monica Performing Arts Center, a touring production of Love’s Labour’s Lost was presented by the cast of Shakespeare’s Globe Theatre, directed by Dominic Dromgoole.
The play follows the story of the King of Navarre, Ferdinand (Philip Cumbus), and his three friends who pledge to focus solely on studies and academics, seeing no women for three years. Ironically, the Princess of France (Michelle Terry) and three of her female scholar companions visit the court of the men. In true Shakespearean fashion, each man falls in love with one of the women and mutual affections bloom. After firmly denying fondness, the men relinquish their vows of concentration to pursue the women.
Every aspect of the production glowed with brilliance and exhibited obvious precise consideration. Between set design, costumes, word delivery and physical acting, the theatrical art displayed perfection. Dromgoole captured exactly what Shakespeare intended his work to be. While the simple script appears dull, enhancements of comedy and realistic emotions spiced up the words, resulting in a high energy show with absolutely zero dull moments.
Intricate costumes and exquisite materials lit up the stage and emphasized each character’s personality. The coordinating shades of color harmonized the complicated love tangles and set a tone of tranquility. This tied loose and complicated ends together into a cohesive collection of events.
With actors coming straight from one of the world’s most renowned stages, one would expect an intense presentation of skill. These thespians showed no weakness, performing with confidence, clarity and distinguished disposition.
The most memorable portrayal of the show came from the love-struck Spanish Braggart, Don Adriano de Armado (Paul Ready). As the tall, dark and handsome man in a grandiose hat and lavish apparel appeared onstage, I knew exactly what to expect: bold, profound words of deep philosophical genius. Yet when Ready began his lines, I beheld a character of meager personality with a nervous laugh.
While Armado’s character is rather pathetic, the personality is truly brilliant, and Ready’s performance was packed with astounding talent and creativity. Instead of taking an angle of arrogance on the role, Ready transformed Armado into a small man in a big outfit. Every word was spoken earnestly, interrupted at times by moments of his unsure laugh.
While every actor’s talent level exceeded the mark of most others, Ready’s approach to the show stood out in my mind, and I cannot imagine a performance to exceed his innovation.
Many directors often forget to manage choreography as they focus on perfectly memorized lines. However, Dromgoole avoided this error and focused beautifully on physicality to pull away from a mundane display onstage. Facial expressions, occasional dances and a large bread fight all enhanced the show’s appeal.
During a remarkable scene of fabulous physical comedy, the four men, attempting to hide love sonnets from one another, strived to conceal themselves in different ways. The character Longaville (Will Mannering) found himself quite desperate for refuge, so he leaped offstage, pushed through to the third row and plopped himself down on a man’s lap. Mannering then found a picture of himself in the program and mouthed to the audience, “That’s me!” When his moment to return onstage arrived, he flung the booklet through the air behind him and stumbled over audience members making his way back up. This distraction received roaring laughter and applause, claiming complete appreciation from those in the audience.
Crowd connection seemed to be a running theme in the performance. Since the theater’s lights only dimmed slightly, actors proclaiming monologues often peered out into the faces of spectators. I clearly remember a moment when Ready spoke Armado’s heartfelt lines and his eyes stared straight back at mine, full of life. This element assisted in keeping viewers involved with the show.
Despite its length of five acts, Love’s Labour’s Lost never squandered the attention of spectators. Each moment kept me consumed in the plot. As intermission snuck up upon me, I deplored the actors’ exits and could not wait for the break to cease. Its humor and vigor persistently kept up pace. Shakespeare’s appeal applies to every sort of individual as he mocks the common flaws and habits of everyday life.
In my experience, Shakespeare has never failed to captivate with his twisted story lines. When a distinguished company takes up his script, wonderful theater magic occurs. Such was the case for this production of Love’s Labour’s Lost. In result of excellent delivery, it takes position as the most enjoyable of Shakespeare’s works that I have ever seen.
The cast of Love’s Labour’s Lost will continue their tour in Holyoke, MA, Dec. 3-5, at the Massachusetts International Festival of the Arts. The tour concludes in New York City, NY at Pace University’s Michael Schimmel Center for the Arts, Dec. 8-21.
