Review: LOVE’S LABOUR’S LOST, Shakespeare’s Globe

The flimsy theme holding together this year’s summer season at Shakespeare’s Globe is ‘1599 or 1939’, which has allowed them to stage a work by Brecht as well as several Shakespeare plays which are frequent flyers at this theatre complex. Fortunately it leaves room for something which hasn’t been produced for either stage since Michelle Terry’s inaugural season in 2018; this Love’s Labour’s Lost, however, finds itself in the outdoor Globe Theatre and with a distinctive Spanish flavour.

The play is set in Navarre, a kingdom in the north of Spain, and this is where we find its King and his friends Berowne, Longaville, and Dumaine at the start; they have signed a pact to study together for three years and forgo the company of women - forgetting that the Princess of Spain is arriving soon with her retinue. Not wishing to break his oath immediately, but also keen to show some diplomacy, the King welcomes the women and allows them to make camp outside of the court. The pact strains at the seams for all four men, each privately confessing their feelings for members of the travelling party - and events are confused further by letters from Berowne and the visitor Don Armado accidentally being sent to the wrong woman. Can the situation be resolved?

As you enter the theatre, Katie Lias’s set design is instantly upon you - the blue and gold design works beautifully in the replica Elizabethan space. Whether this colour scheme is a nod to Navarre’s historical links with the nearby Kingdom of Asturias or just an aesthetically pleasing choice, it offsets the rest of the production well and allows the costumes to stand out from the background. While Navarre and his men are reminiscent of Liverpool FC’s infamous 1996 FA Cup final attire in their white ensembles (but with a Spanish theme), the Princess and her ladies are far more brightly coloured - the Princess’s red velvet suit with gold detailing is a highlight, Spain’s flag made wearable. The use of gegants and cabezudos (giant puppets and papier-mâché heads) in the Nine Worthies scene is also a neat touch.

Shakespeare aficionados will know that usually the Princess of France is the central female character, however making her Spanish does allow the flamenco concept to really take hold of the production; it would perhaps be a bit odd for a French princess to be so well versed in this style of dance, and therefore any flamenco used would appear tacked-on and not integral to the narrative. The Princess of Spain uses dance and movement to express herself, developing her character in a way not otherwise open to her. Even if flamenco actually originates in the south of Spain, and everything else is firmly northern.

The central narrative works wonderfully and has clearly been well thought out, the non-traditional ending (for an early modern comedy) hitting harder thanks to the Princess’s passionate display of grief. It’s the Don Armado plot which struggles to hit home, despite a wonderfully flamboyant performance from Andro Crespo. His interactions with Moth (a delightful Jax Guerrero) just about provide the requisite humour, however Katy Stephens channelling Su Pollard as Holofernes later on just muddies the waters - it just drags on for too long and doesn’t feel at all necessary.

Although it’s not a new path to tread, as Much Ado About Nothing is also part of this season it might have been fun to go down the Love’s Labour’s Lost and Love’s Labour’s Won route, tying the two plays together in the way Shakespeare’s Globe has previously tackled the Henriad. During the finale jig, I also found myself reminiscing over Matthew Dunster’s 2017 Mexican-themed production of Much Ado - a revival of this in a two-show day with the current Love’s Labour’s Lost would be magical indeed. Sadly this was not to be.

Aside from the various dance sequences (led by the incredible Pablo Egea and Anita La Maltesa, accompanied by cantaor Carlos Lobo Cordón), for me the standout moments of the production come in act 4 scene 3. This sequence sees Berowne publicly state his love for Rosaline, and then find a place to hide when the King arrives and professes his love for the Princess - subsequently (but separately) Longaville and Dumain appear, confessing to their feelings for Maria and Katherine whilst the others hide. This is well directed by Indiana Lown-Collins, and shows the actors’ physical comedy skills - in particular Philip Arditti as Berowne.

The confessions of love take the form of sonnets or other poetry in the text, which in this production are set to the melodies of popular music by hispanic artists; the tunes of “Despacito”, “Livin’ La Vida Loca” and “Hips Don’t Lie” are quickly recognisable, and allow the original writing to be presented in a way which chimes with a modern audience. This creative approach is the best of both worlds.

Ned Costello delivers an hilarious turn as the not-quite-sure-of-himself King of Navarre, full of bluster but often looking to his men for reassurance in his actions. Jimena Larraguivel is memorable, despite the minimal stage time for Jaquenetta; her passion on her sleeve at all times, and barely able to be contained - later contrasting this with a desperate woman on the edge. Joshua Hill has excellent comic delivery as Costard, his interjections timed perfectly to maximise the laughs, and stealing a scene or two while he’s at it.

Norah Lopez Holden is without doubt the star of the show. Not only is her portrayal of the Princess of Spain pitch-perfect, balancing humour with authority and emotion, but she also takes charge of the dancing at every opportunity; her grief-filled final dance is a charged moment in the production, showing its power as it ripples out to the rest of the company. Lopez Holden is one to watch, that’s for sure.

Whilst this may not be a perfect, polished production, it shows sparks of brilliance which ensures audience members will go home with a smile on their face and a flamenco tap in their toes. A theatrical fiesta fit for the summer heatwave.

Love’s Labour’s Lost is at The Globe Theatre until 13 September

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