LOVE'S LABOUR'S LOST. To 26 August.

Stratford-upon-Avon

LOVE’S LABOUR’S LOST
by William Shakespeare

Swan Theatre To 26 August 2006
Mon-Sat 7.15pm Mat Sat 1.15pm
Runs 3hr One interval

TICKETS: 0870 609 1110
www.rsc.org.uk
Review: Timothy Ramsden 19 August

Sometimes moves wild laughter in the throat of audiences – but mainly for the bolt-on bits.
Washington DC’s Shakespeare Theatre Company provides the kind of production English theatres were doing 30 years ago to give Shakespeare surface ‘relevance’. There’s rock ‘n’ roll, bouncy jollity and farting jokes. But little coherent approach to the play’s heart; to what, actually, makes it relevant.

Not just labour spent on love is lost in this comedy. Everything goes awry until the final cause is revealed: that life’s ever-governed by death. People seek to go beyond their understanding and come a cropper. Michael Kahn’s production starts well, as a group of western rock musicians arrive to learn wisdom from an Indian prince. Though the enlightenment they seek is suspect, given the sub-Taj Mahal portals, impossibly fleecy clouds and rainbow of Ralph Funicello’s set.

But why 4 chic motor-scootering dolly-ladies should turn up to discuss Aquitaine, before driving back to France the following day defies comprehension. There again, so does much of Shakespeare’s place-naming. And there was a lot of laughter at times round the theatre – plus too much from the stage, providing the mirthless situation where characters laugh inexplicably at what they’ve done or said. Again, a lot of audience laughter came from added gags, with whole acres of verse going for little.

Amir Arison’s a strong Navarre, in serious mode and in the joyous added rock numbers. Jolly Abraham’s Indian Jaquenetta’s a joy, with a clear purpose behind the traditional gestures. The women visitors are neatly-performed (with a good moment as only peer-pressure prevents Angela Pierce’s Maria allowing one of love’s labours to be won). Claire Lautier’s Princess is a natural leader while Sabrina LeBeauf gives Rosaline a sense of wise authority.

Ted van Griethuysen’s shchoolmaster Holofernes (a touch of the Sean Connery to his speech) is strong among the Western locals in this area while Geraint Wyn Davies’s pompous Armado provides the loudest script-based laugh, by implying a literally dirty pun, and a sympathetic moment when his underlying poverty is revealed.

Rock Kohli’s Dull isn’t dull, and Nick Choksi’s Moth flutters brightly. Some nice gags too with the Muscovites as head-banging spacemen. But this comedy’s heart remains largely untouched.

King Ferdinand of Navarre: Amir Arison
Berowne: Hank Stratton
Longaville: Erik Steele
Dumaine: Aubrey Deeker
Princess of France: Claire Lautier
Rosaline: Sabrina LeBeauf
Maria: Angela Pierce
Katherine: Colleen Delany
Boyet: Floyd King
Don Adriano De Armado: Geraint Wyn Davies
Moth: Nick Choksi
Holofernes: Ted van Griethuysen
Sir Nathaniel: David Sabin
Antohny Dull: Rock Kohli
Costard: Michael Milligan
Jaquenetta: Jolly Abraham
Forester: James Rana
Marcade: Emery Battis
Sitar Player: Brian Q Silver
Servants/Attendants: Jordan Coughtry, Blake Ellis, Kunal Nayya, Nicholas Urda, Ryan Young

Director: Michael Kahn
Designer: Ralph Funicello
Lighting: Mark Doubleday
Sound: Martin Desjardins
Composer: Adam Wernick
Costume: Catherine Zuber
Voice/Text coach: Ellen O’Brien
Assistant director: Stephen Fried

2006-08-20 13:07:02