Love’s Labour’s Lost

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Lounge Theatre (CA)

Los Angeles, CA

Critics

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Reviews: 1

Audience

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Reviews: 1

CHASE WHAT FLIES
presents
LOVE’S LABOUR’S LOST
directed by
Taylor Jackson Ross*

From the team that brought you last year’s chilling and poignant production of RICHARD THE SECOND comes a hilarious and heartwarming new venture: William Shakespeare’s LOVE’S LABOUR’S LOST. LA classical theatre ensemble Chase What Flies welcomes you to the court of Navarre, where love is forbidden (and all but inevitable). Come join some of Shakespeare’s most lovable oddballs as they navigate big feelings, big plans, and the uncertainty of life.

Consisting of actors and artists from some of LA’s finest theatres, Chase What Flies comes together to share progressive stories through the universality found in classic Plays and Words. Love’s Labour’s Lost endeavors to bring joy, silliness and hope to our audiences this holiday season, reminding us how love can change our lives mostly for the better. Join us at the Lounge Theatre in Hollywood – tickets are only $15 in advance, $20 at the door!

Featuring

Kaite Brandt as Sir Nathaniel
John Cody Fasano as Longaville
Doug Harvey* as King
Ken Ivy as Moth
Jordan Klomp* as Berowne
Julie Lanctot as Rosaline
Maia Luer as Maria
Kelvin Morales as Dumain
Kristina Mueller* as Don Armado
Tiana Randall-Quant as Princess
Cameron Rose as Costard
Megan Ruble as Katharine
William Gray Schierholt* as Boyet
Alex Sheldon as Dull
Talya Sindel as Jaquenetta
Tippi Thomas* as Holofernes

Text Consultant: Susan Angelo*
Costume Design: Rachel Harmon
Lighting Design: Bri Pattillo
Scenic Design: Cameron Rose
Mask Design: Alex Sheldon
Logo Design: Sky Wahl
Producer/Stage Manager: Frank Weidner*


*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. This production is being presented under the auspices of the Actors’ Equity Association Los Angeles Self-Produced Code

 

    

Reviews

The sweetness of the silly love stories, the antic goings on, the misadventures--at one time involving a lot of wonderfully inventive masks and costumes--work all the better for a dashes here and there of the bittersweet. A moment of casual cruelty by someone who isn't generally cruel. A reminder of personal tragedy. A human moment of humiliation. But amid trap doors, wit, practical jokes on top of practical jokes, the wise and foolish as well as the high and low spouting what they think is wisdom and what they hope is true love.

sweet - David MacDowell Blue - Night Tinted Glasses - ...read full review

The cast are brilliant young Shakespearean actors who brought life to the text and hilarity to the situation with excellent rhetoric and engaging physical comedy. I was in stitches for most of the show. However, it is easy to see why this is one of Shakespeare's least often performed plays. While wit is never lacking, the plot seems to ramble on until the sudden event which marks its ending, and there are groups of characters that barely connect to the main lovers at all, except in the grand ending scene. They seem like less-successful versions of the rude mechanicals in Midsummer, who at least have Bottom to tie them to a major plot. However, the play was mostly riveting while I was in the audience. It was only after looking back on it that the awkwardness (by no fault of the director or the actors) began to bother me.

sweet-sour - Katie Brastow

The sweetness of the silly love stories, the antic goings on, the misadventures--at one time involving a lot of wonderfully inventive masks and costumes--work all the better for a dashes here and there of the bittersweet. A moment of casual cruelty by someone who isn't generally cruel. A reminder of personal tragedy. A human moment of humiliation. But amid trap doors, wit, practical jokes on top of practical jokes, the wise and foolish as well as the high and low spouting what they think is wisdom and what they hope is true love.

sweet - David MacDowell Blue - Night Tinted Glasses - ...read full review

The cast are brilliant young Shakespearean actors who brought life to the text and hilarity to the situation with excellent rhetoric and engaging physical comedy. I was in stitches for most of the show. However, it is easy to see why this is one of Shakespeare's least often performed plays. While wit is never lacking, the plot seems to ramble on until the sudden event which marks its ending, and there are groups of characters that barely connect to the main lovers at all, except in the grand ending scene. They seem like less-successful versions of the rude mechanicals in Midsummer, who at least have Bottom to tie them to a major plot. However, the play was mostly riveting while I was in the audience. It was only after looking back on it that the awkwardness (by no fault of the director or the actors) began to bother me.

sweet-sour - Katie Brastow