Love's Labour's Lost

Love’s Labour’s Lost, one of Shakespeare’s early comedies, is not as often produced as others, due probably to its many allusions to now obscure people of the times and its types of witty rhetoric and linguistics. For FSU/Asolo Conservatory presentation, director Jonathan Epstein has adapted the play into a modern, almost musical-comedy. In it, a mix of aristocratic and lower-tier characters sing, dance and cavort in a lush garden setting to bring to life a comic strip. 

Situation: The King of Navarre and three male friends take an oath to retire for three years from all outside interests (especially women) so as to study how to get fame and good fortune. Only one—Berowne hesitated, arguing a Princess was en route to cement a treaty with Navarre, but he says he will compromise only to the point of necessity.  Before the men retire, Navarre has to deal with a rustic romancing a dairy woman allowed to stay in court to work.  Spaniard Armado, who’d protested the romance, comes to get the rustic punished. 

Then Princess arrives with three ladies but must stay in a near forest to await treaty documents from her father. Navarre’s three men fall for Princess’ ladies, who are receptive. But there are many mixed messages, confusions, interventions by a supposed scholar, and disguised action—including a play—before a comic resolution. Even so, all the laboring over love produces results that, though sure, must be prolonged, partly due to needs for a period of repent for men breaking oaths—thus, the title. 

Conservatory students get a real workout in their arduous roles but smile through. Jordan Rich acquits himself very well in the most arduous dramatic role as Berowne. Musically, Mikhail Roberts’ romantic Durnard stands out with singing and guitar. Jackson Purdy is very funny as the supposed scholar Holofernes.  Rueben Wakefield makes Navarre properly authoritative and likeable.

Splitting sexes, no one could beat Malaria Chaparro Martine as Armado, standout Spaniard, with fire and fury.  But just as funny, Falcian Page embodies the buxom, randy dairymaid Jaquenetta, then appears as the calm and calming cleric Nathaniel. From the opening scene, Danielle Vivcharenko scores as Armado’s smart, dutiful page. Trezure Coles’s Dull is a rightfully silly-shrieking constable but a beautiful Katherine, winning a man’s heart.

Brielle Rivera Headrington is a truly royal, in-command Princess. It’s wonderful how Brooke Turner fits into the role of Rosaline, both as described in the play’s text and in her demeanor.  No wonder Berowne can’t resist her.  Sharon Pearlman’s Maria is forthright in getting Jackson Purdy’s Longaville to love her. Accompanying Princess and her ladies, Rebecca Rose Mims is a positive as Boyette, who gives advice.

Daniel Levy’s original music fits the modernization of Shakespeare’s play and the guitar-playing and good choreography.  I could have done without the inclusion of “Fever” from America in the 1950s, though.  April Andrew Carswell’s costumes nicely fit modern but also classical tastes.

If you don’t care for Shakespeare, you may well like much of this production. If you do, you most probably will enjoy seeing what’s done to his play, but you might regret hearing so little of his original poetry.