If one of Milwaukee Shakespeare's goals is to attract young audiences, then this production of Love's Labour's Lost earns an A-plus. Although this version may not appeal as much to Shakespeare purists, it's a lot of fun to watch. Credit goes to director Jennifer Uphoff Gray and the set, costume and lighting designers. The combination of these elements is practically seamless.
In this version of LLL, the kingdom of Navarre has been transformed to a TV station called NBC (Navarre Broadcasting Company). The actors first appear as camera operators, gofers, scriptwriters, makeup artists, etc. They are all seen milling around the set, making small talk. The premise: they are preparing to film the premiere of a new reality TV show called "Love's Labour's Lost." The contemporary theme is heightened by a clever set that features the back end of a TV trailer and, nearby, a few TV monitors.
Before shooting starts, the audience "previews" the show's opening credits on the TV monitors. The credits focus on the main characters in a way reminiscent of the opening for "Saturday Night Live." This literally "sets the stage" for a very innovative, unconventional retelling of one of Shakespeare's lesser-known works.
Another remarkable aspect of this production is how a tiny black-box theater is transformed into a playing space for 17 actors. Some clever staging puts a few scenes directly in the aisles, within inches of the audience. This keeps the audience engaged for the show's almost-three-hour running time.
The show is perhaps less successful vocally than it is visually. Hearing Shakespeare's prose coming from a guy dressed as a roadie takes a bit of getting used to.
It must be noted that the production overcomes one of the show's two main hurdles. The first is an unbelievable plot. The King of Navarre (Wayne T. Carr) must convince a trio of friends to spend three years in a quest for knowledge. However, he requires them to sign a ridiculous oath that forbids them, among other things, to flirt with women. Not surprisingly, the friends balk at this idea. They are dressed like fraternity boys. There's the retro-dressed leader, Berowne (Kevin Rich), the sweatpants-wearing jock (Chris White) and the preppie, Dumaine (Jarrod Smith). All three deliver impressive performances especially Rich, who gives an especially moving performance as the fun-loving Berowne. No sooner have the men signed the oath than guess what appears? An unexpected group of fine-looking women.
Three lovely handmaidens accompany the Princess of France (Molly Rhode). Her mission is to settle some business between the two countries. Forbidden to enter the kingdom's gates, the women are invited to take shelter in a nearby field. The princess expresses surprise at this strange arrangement. (Secretly, she knows all about the mens' "pledge"). She reluctantly agrees to this arrangement, much to the King's delight. A subplot appears in the form of a visiting Spaniard, Armado. Played by veteran funnyman Norman Moses, Armado becomes a hilarious blowhard. His rival, an obtuse professor, is performed by a talented Richard Ganoung.
All goes well until the end of the show, when the production nearly stumbles over the script's second obstacle. A French messenger brings somber news to the Princess. Instantly, the mood darkens and the play's lighthearted tone evaporates. Despite a few attempts, the play never recovers its carefree charm. Little wonder that Love's Labours Lost isn't one of the Bard's most popular plays. However, Milwaukee Shakespeare has done an excellent job of tackling this challenging piece. Younger viewers, especially, will appreciate the show's innovative, contemporary interpretation.
