After enjoying our time producing Hamlet: Zoom, and social-distancing still continuing to be in the best interest of public health, Anthony Buck and I decided to try a second piece of Shakespeare, improving with what we learned on our first attempt at this strange way of satisfying a theatrical itch.
From Director Anthony Buck: Love’s Labours Lost is one of Shakespeare’s most surprising plays. Not only is the structure a little unusual (four romantic couples plus a love triangle of totally unexpected characters), the antics the characters resort to seem fairly un-Shakespearean – and then the ending… it just comes out of nowhere, yet somehow seems like the only satisfying conclusion when you stop to think about it.
The play asks what love really is, what is reasonable to do for it, what kinds of love are appropriate, and whose story should get a happy ending. Pretty heavy stuff for a light and fluffy comedy!
Shakespeare’s language is denser and more elegantly constructed here than in other comedies. This production is slightly abridged to help cut through the forest of amazing linguistic gymnastics. If you are a strict Shakespeare purist, forgive us. If you are newer to Shakespeare, hold on a little before you decide this play is hard to understand – it doesn’t take too long for the antics and passions to make themselves clear.
“The Cuckoo and Owl” by Adam Griffiths, performed by Wendi Griffiths, Katherine Tietjen Omer, Ricky Parkinson and Adam Griffiths
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Ingredients
Lord Berowne – Ricky Parkinson
Lord Longaville – Scott Butler
Lord Dumain – Adam Griffiths
Princess – Amanda Angerbauer
Lady Rosaline – Katherine Tietjen Omer
Lady Maria – Claire Stucki
Lady Katharine – Wendi Griffiths
Boyet – Carrie Morgan
Don Adriano de Armado – Josh Curtis
Moth – Chelsea Marsden
Jaquenetta – Emma Leishman
Dull – Luke Haueter
Holofernes – Mara Lefler
Sir Nathaniel – Jeremy Jonsson
Mercade – Jake Hart
Forester – Mark Chamberlin