Globe Education Online

Resources for people passionate about learning and engaging with Shakespeare's plays

Love's Labour's Lost (2009)

directed by Dominic Dromgoole

Self-denial is in fashion at the court of Navarre where the young King and three of his courtiers solemnly forswear all pleasures in favour of serious study. But the Princess of France and her all-too-lovely entourage have other ideas and it isn’t long before young love, with its glad eyes, hesitations and embarrassments, has broken every self-imposed rule of the all-male ‘academe’.

Shakespeare's boisterous send-up of all those who try to turn their back on life, is a festive parade of every weapon in the youthful playwright's comic arsenal: from excruciating cross-purposes and impersonations, to drunkenness, bust-ups and pratfalls. Even more, it is a joyful banquet of language, groaning with puns, rhymes, bizarre syntax, grotesque coinages and parodies.


Creative Team

Director: Dominic Dromgoole
Designer: Jonathan Fensom
Composer: Claire van Kampen



Cast

Jade Anouka - Maria
Phil Cumbus - Ferdinand, king of Navarre
Seroca Davis - Moth
Jack Farthing - Dumaine
Patrick Godfrey - Sir Nathaniel 
Christopher Godwin - Holofernes
Trystan Gravelle - Berowne
William Mannering - Longaville
Fergal McElherron - Costard
Rhiannon Oliver - Jacquenetta
Thomasin Rand - Rosaline
Paul Ready - Don Armado
Siân Robins-Grace - Katherine
Tom Stuart - Boyet
Michelle Terry - Princess of France
Andrew Vincent - Dull


Discover the play

• *NEW* Watch performance clips and interviews from Love's Labour's Lost.

• *NEW* Listen to an interview with Domininc Dromgoole, Artistic Director, as he talks with Professor Peter Litchenfels about the 2009 tour of Love's Labour's Lost to the United States and his future plans for Shakespeare's Globe.

• Subscribe to official podcasts from the 2009 cast, as they share their experiences of joining this revival and how they are approaching the play and their roles:

- Jack Farthing: Dumaine
- Thomasin Rand: Rosaline
- Tom Stuart: Boyet

• Read rehearsal blogs from the 2007 production by:

- Michelle Terry: Princess of France
- Trystan Gravelle: Berowne

•  Playing the Murderer: Farah Karim-Cooper explains the complex associations behind the hunting scene in Love's Labour's Lost.

• Find out how the play is doing on tour in America with reviews from the US venues. Don't forget to leave your own thoughts on the production on our Just Opinions comment board below!


Just Opinions

"deliver, like free and honest men, our just opinions"
Henry VIII, 3.1.63-64

Have you seen this season's production? Post your thoughts on the 2009 Love's Labour's Lost below:

Comments

I was disappointed in the

I was disappointed in the choices made by Thomasin Rand. I do not care how many times you have performed the play, it is highly inappropriate to look at your fellow actor in scenes when you are not the object of attention and make faces or roll your eyes.

I was VERY disappointed with

I was VERY disappointed with this production -- I think the performance I saw (8pm., November 14 2009) failed the FIRST requirement of presenting a play, and that is communicating with the audience. This, it turns out, was the consequence of not using microphones. I was told (as I was leaving, before the Intermission) that the intent was to make this as authentic as possible -- as if it had been performed in the Globe Theatre, That is very admirable. BUT, I was watching NOT in the Globe Theatre but in the Granada Theatre in Santa Barbara which is MUCH bigger than the Globe. I was sitting at the back in the Orchestra level -- maybe 50 yards from the stage -- and could not hear the actors clearly. Their voices may project just fine at the Globe, but failed to carry as far in the Granada. I don't know if this decision to NOT use microphones was arrogance, or ignorance. But the end result was the same -- unintelligible gibberish. Adding more complication was the accent of some actors -- there was Scottish, and a Cockney which was really difficult to figure out if not heard often (and they are not on the Santa Barbara stage). Then the delivery often failed, with voices dropping down at the end of sentences, making them unintelligible. And then there was the speed of delivery -- I appreciate the desire to make this brisk and lively, but the rapid repartee made it harder to understand the dialogue -- Shakespeare's tricky words and word plays often need a moment to "process" to get the true meaning and the humor. But here was were rushed on before that could be done. So, all in all: a bust. I have NEVER walked out of a Shakespeare play before this. Sure, this is my perception only, and I'm sure many others at the performance enjoyed in enormously. But this person did not (and I could see many others at the back who were just as much adrift as I was). And much of it stems from not using microphones to clearly communicate the words to the audience. So, PLEASE, authenticity aside, make needed adjustments when you play in a theatre that is NOT as intimate as the Globe. Your audience needs to hear your voices clearly to fully participate in the theatrical experience.

I just saw the production on

I just saw the production on tour in Berkeley, California (near San Francisco). It was absolutely gorgeous. Brilliant direction, excellent acting. In my opinion Shakespeare's play was made to shine at its highest potential in this production. Thank you to The Globe for such wonderful work!! And thanks for bringing it to the states!

Truly a wonderful play, I am

Truly a wonderful play, I am certain WS would have been delighted with this awesone cast. Everyone, without exception delivered, including the musicians.
Although we had a quite a few distractions in our neck of the woods, three people ill and an usher having to tell someone several times to move, We were so enthralled that it mattered very little and we came away upset that the play was finally over.

I really loved this play and

I really loved this play and I am only fourteen. I think that the direction and acting was flawless. I must say that Thomasin Rand and Trystan Gravelle acted with such grace and care, hitting every mark and making so real. I couldn't have asked for a better experience.

Best play I have seen in a

Best play I have seen in a very long time. FUNNY beyond words; it should be illegal to have so much fun acting in such a play. Never since being Beatrice myself in Much Ado have I seen such animated love for Shakespeare. I booked the tickets as an experience for my darling on his birthday and was dreading it being too arty but he LAUGHED so much, it was a joy both to watch and also to observe how every soul there was captured and touched by the modern reality of the love quandries played and how they are still so apt today! This is what William wanted; his genius to be valid today forever. I love Hector's Page - he was to me the young Shakespeare poking fun at the world's obesession with words and intellect when he came from such normal origins himself - BRAVO. His consternation at his own success whilst enjoying every letter.
Forgive my spelling and poor English, he himself would be ashamed but ENCORE! Especially Taffy Roslaine's lover, no where have I heard or seen a Welsh accent be so natural and sexy too. Thank you all for such a wonderful birthday present for my own darling man. I can not end without mentioning Hector - Borat wannabe you were superb!

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