Love's Labour's Lost

"Just back from a fabulous fabulous evening's entertainment. Best night out in years. Sooo funny. Inspired production, stellar performances, and so so much comedy.

A delight! Drop everything and go"

Geoff H, Love's Labour's Lost, August 2024

"Absolutely loved it. Fantastic outdoor setting, fabulous cast. Thank you for a great evening"

Natalie S, Love's Labour's Lost, August 2024

"We enjoyed it hugely. Very entertaining.

I can honestly say I was laughing out loud. Thoroughly recommended ⭐⭐⭐⭐⭐"

Elizabeth P, Love's Labour's Lost, August 2024

"It looked amazing, it sounded amazing. The costumes were incredible; the performances were captivating. The words (500+ years old) made sense - brought to life by a talented cast, acted so well and SO entertainingly. The music was the icing on the cake. (Well, that and the bubble machine over the final song).

A truly memorable and brilliant night out!"
P.A. Love's Labour's Lost, August 2024

"I used to not be very ***ed about theatre to be honest. But since I've been going to watch the productions from The Players Theatre Company, I've been completely swayed.

The collection of talent from the people in The Players is extraordinary. It's actually weird that they're not in huge West End productions. The set, direction, and tech are always excellent.

You've missed your chance to watch this steampunk-esque, musical performance, but keep an eye out for their next project..."

Kristy S.,   Love's Labour's Lost, August 2024

A wonderful production of Love’s Labour's Lost. Very atmospheric with a great cast and some fine acting. The costumes were very well done and the girls looked even better, sparkling, as dusk fell and it became dark. 

Loved the way modern music was woven into the Shakespeare story which made for an amazing evening’s entertainment. Well done to all involved.

Christine Y.  Love's Labour's Lost, August 2024

Set against the evocative backdrop of St Mary’s Church in Pitstone, The Players Theatre Company’s recent production of "Love’s Labour’s Lost" presents a well-crafted and thoroughly enjoyable take on one of Shakespeare’s more linguistically complex comedies. Directed by Sarah Jones, this production offers a skilful balance of wit, charm, and visual appeal, engaging both seasoned Shakespeare enthusiasts and those new to the Bard’s work.

The production is anchored by strong performances from a talented cast. Andrew Peter Shaw shines as King Ferdinand of Navarre, bringing a regal yet relatable presence to the stage. Shaw’s portrayal captures the youthful idealism of a king who is both earnest and endearingly flawed in his attempts to swear off love. His transformation from a ruler intent on study to a man ensnared by affection is compelling and nuanced.

As Berowne, Ashley Baker stands out for his sharp delivery and charismatic stage presence. Baker handles Shakespeare’s complex wordplay with ease, delivering his lines with a wit and energy that keep the audience thoroughly entertained. 

Connie O'Donnell’s performance is a highlight of the production, her portrayal of the Princess of France balancing intelligence, grace, and a delightful undercurrent of mischief. Her exchanges with members of her entourage and the King's Court are a masterclass in the kind of verbal sparring that makes Shakespeare’s comedies so timeless.

Haydn Davis delivers a flamboyant and memorable performance as Boyet, the Princess’s gallant attendant. Davis infuses Boyet with a playful energy, expertly navigating the fine line between being a loyal courtier and a mischievous provocateur. His scenes are filled with a vibrant theatricality that adds an extra layer of enjoyment to the production. Davis’s ability to switch between delivering witty asides and engaging in the romantic intrigue with equal flair makes Boyet a standout character.

Sarah Howell brings a wonderful dose of physical comedy to the role of Costard, the country clown whose misadventures and misunderstandings add a layer of humour to the play’s romantic entanglements. Howell’s performance is delightfully animated, making Costard a lovable and memorable character. Her timing is impeccable, whether she’s delivering a clever pun or getting entangled in a humorous situation. Howell’s portrayal ensures that Costard remains an audience favourite, adding a refreshing contrast to the more sophisticated humour of the courtiers.

The supporting cast also contributes significantly to the production’s success. 

Niki Lewarne as Rosaline brings a clever and confident edge to her role, perfectly matching Berowne’s wit.

Alison Moore as Maria and Janine Wall as Katherine round out the Princess’s entourage with charm and poise, each contributing to the dynamic interplay of the court’s love games.

In the comedic roles, Lynne Magennis delivers a memorable performance as Don Adriano de Armado, the over-the-top Spaniard whose exaggerated mannerisms and mispronunciations are a source of much laughter. Magennis’s timing is impeccable, and she fully embraces the absurdity of her character, providing a lively contrast to the more earnest romantic entanglements. 

Ben Sowden as Moth, Don Armado’s witty page, complements Magennis perfectly, delivering his lines with a cheeky humour that delights the audience.

The setting of St Mary’s Church adds a unique and atmospheric dimension to the production. The historic architecture serves as a fitting backdrop for the play’s themes of love, honour, and intellectual pursuit. 

The set, designed by Sarah Jones, Lynne Magennis, and Daniel O'Donnell, is minimalist yet effective, with subtle changes that evoke the different locations within the story without distracting from the performances. The church’s enclosed courtyard also enhances the clarity of the dialogue, ensuring that Shakespeare’s intricate language is delivered with precision. 

Costume design by Sarah Jones and Niki Lewarne is another standout aspect of this production. The costumes are a vibrant mix of Elizabethan Steampunk and contemporary influences, with a focus on rich fabrics and detailed embellishments that reflect each character’s status and personality. 

The use of colour is particularly effective in distinguishing the various groups within the play, with the French ladies’ costumes contrasting beautifully with the more subdued tones of the Navarre court. 

Boyet’s flamboyant attire, in particular, underscores his role as the playful yet astute observer of the romantic entanglements, adding a visual flair that complements Davis’s spirited performance. 

Sarah Jones’s direction ensures that the pace of the play remains brisk, a crucial factor in maintaining the audience’s engagement with Shakespeare’s often dense text. 

The actors deliver their lines with clarity and purpose, making the most of the language’s rhythm and flow. The comedic scenes are particularly well-timed, with physical comedy and verbal repartee working in harmony to generate consistent laughter. In addition, the production is careful not to sacrifice the play’s emotional depth for the sake of speed. 

The more reflective moments, such as Berowne’s soliloquies and the bittersweet ending, are given the space they need to resonate with the audience, adding layers of meaning to the otherwise light-hearted narrative. 

The Players Theatre Company’s production of "Love’s Labour’s Lost" is a delightful and thoughtfully executed interpretation of one of Shakespeare’s more challenging comedies. With strong performances from a well-chosen cast, and a creative team that clearly understands the nuances of staging Shakespeare in a unique venue like St Mary’s Church, this production succeeds in bringing out both the humour and the heart of the play. 

Whether you’re a die-hard Shakespeare fan or a newcomer to his works, this production offers an entertaining and enriching experience that is not to be missed.