Review: Love’s Labour’s Lost, The Charterhouse

A picnic, a spot of rain and a Shakespeare play – does it get any more British than this? Love’s Labour’s Lost is the production of choice for the tenth anniversary season of Shakespeare in the Squares, a not-for-profit touring theatre company that stages a new Shakespeare play across London each summer, with each night in a different venue. Tonight’s performance took place in Charterhouse Square, a beautiful backdrop for one of the Bard’s lesser-known plays.

Directed by Toby Gordon, this interpretation of Shakespeare’s early comedy is infused with the sounds of the 1960s and 70s, with the cast accompanying themselves on an impressive array of guitars, flutes, saxophone and more.

The premise remains gloriously silly: the Lords of Navarre swear off the company of women for three years in pursuit of scholarship, only for the Princess of France and her entourage to arrive and immediately undermine their lofty ambitions. Nathan Musoki brings warmth and charm to King Ferdinand, a man perpetually caught off guard by events, while Niall Ransome delivers an exceptional Berowne, effortlessly handling the character’s relentless wit and verbal dexterity. 

Before the praise continues, however, a note of pedantry. Much like the absent schoolmaster Holofernes, I feel compelled to mention the substantial cuts made to the text. Presumably in the interests of running time, the four Lords become three, as do the Ladies, while several other characters have been removed entirely and their dialogue redistributed elsewhere.

The results are mixed. At times, the reassigned material creates awkward patches of wordplay and narrative confusion. Emma Manton is wonderfully mischievous as Boyet, but the character often feels burdened with the responsibilities of several missing roles, causing parts of the story to lose some of their clarity and momentum.

That aside, there is still much to enjoy. The company’s renditions of songs including ‘I’m A Man’, ‘Please Mr Postman’ and ‘Hooked on a Feeling’ integrate surprisingly well into the action. Given the various modern references woven throughout the production, it would perhaps be worth modifying the language further. Decisions about what warrants contemporary English versus Shakespeare’s original text feel random, making some jokes land less effectively than they might otherwise.

Laura Andresen Guimarães is commanding as the Princess, striking a compelling balance between flirtation and authority while teaching the increasingly lovestruck Lords a lesson in dignity. John Holt Roberts quickly wins over the audience as Costard through playful improvisation and ad-libs. The standout performance, however, comes from Dexter Southern, who doubles as both Dumain and the flamboyant Spaniard Don Armado. Switching effortlessly between Eton-educated poshness and a respectful Mediterranean accent, he not only generates much of the evening’s comic energy but also showcases his experience as a member of a Shakespearean improv troupe with some impressive rounds of audience interaction. 

The production values are also not skimped on. Emily Stuart’s costumes capture each character perfectly, with particular inventiveness displayed during the pageant of The Nine Worthies, where cardboard, dustbin lids and kitchen utensils are transformed into delightfully effective theatrical tools. Props are in abundance, while Annemarie Lewis Thomas‘s tightly arranged vocal harmonies provide a cohesive musical thread that binds the evening together.

One of the longstanding criticisms of Love’s Labour’s Lost is its famously abrupt ending – a reminder, perhaps, that despite our best intentions, life has other ideas. This production makes a compelling case for the play’s wider appreciation. While the abridgement occasionally creates problems of its own making, the strength of the performances and the infectious enthusiasm of the company carry it confidently across the finish line.

Presented by Shakespeare in the Squares
Director: Toby Gordon
Assistant Director and Intimacy Coordinator: Bella Chapman
Designer: Emily Stuart
Musical Director, Composer & Arranger: Annemarie Lewis Thomas
Production Manager: John Huyton
Company Stage Manager: Bethany Fulcher

Love’s Labour’s Lost is touring across London until Sunday 12 July.