RSC Love's Labour's Lost at Royal Shakespeare Theatre Review

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Tue 16 Apr 2024 - Sat 18 May 2024

It's a new era at the Royal Shakespeare Company under Co-Artistic Directors Tamara Harvey and Daniel Evans and they are nailing their colours firmly to the mast with this new contemporary production of Love's Labour's Lost.

Reaching out to younger generations they've brought in acclaimed female director Emily Burns, who was behind the National Theatre's Jack Absolute Flies Again and Dear Octopus. She weaves in a modern, feminist edge to Shakespeare's romantic comedy but there's also a Bridgerton star and Backstreet Boys music in the mix.

Luke Thompson is a familiar face as artistic Bridgerton brother Benedict in Netflix's hugely popular period romp and makes his RSC debut in this Love's Labour's Lost , on at Stratford-upon-Avon's Royal Shakespeare Theatre until May 18.

As the romantic lead Berowne, he's playing a similar role to Benedict, which sent the young woman sitting near me into a tizz. He ramps up the charm with coy smiles and flirtatious poetry to woo cynical Rosaline(Ioanna Kimbook shown below) and always has a touch of the star quality about him on stage.



Although the RSC milks his status for all it's worth, shamelessly adding a noticeable amount of bare chest moments for Thompson. That includes when he later peels off most of his clothes to whoops from the crowd.

On the whole, it's a fresh version of this frequently performed comedy, set in current times. It reminded me of when the RSC did The Merchant of Venice set in Las Vegas in 2011 and like that, this will appeal to American audiences.

This time, the drama is transferred to a private Pacific Island that looks like a high-end Hawaiian hotel. I couldn't help feeling there were touches of TV series White Lotus and movie Heathers in the set design and clothing.

It opens with a 24-hour news bulletin with ticker tape messages running underneath as Melanie-Joyce Bermudez's Princess announces her father being ill in English and her native Pacific language before heading on a mission to reclaim land from another leader, Ferdinand, who resides on a luxurious island.

This is where four Tech Bro-style men, led by Ferdinand, swear off women to concentrate on achieving higher aims. No sooner than they've signed the contract, the attractive princess and her three ladies turn up setting their hearts aflame causing each to secretly relinquish their promise.



Thompson may be the TV name but Abiola Owokoniran matches him for intensity on stage as Ferdinand. Despite this, the women always have the upper hand and it's refreshing how director Burns emphasises their feminist natures, making them headstrong, irresistible and mostly immune to the men's charms.

Ioanna Kimbook feels like a very modern-day heroine as Rosaline and it's her will they-won't they tension with Berowne that provides most of the romance.

Frequently moving around the resort on a revolving stage, the audience moves from the tennis court to the golf course (with a scene-stealing golf buggy) and even a spa. There are carefully crafted adaptations and when the ladies disguise themselves, it's done in face mud masks and towelling robes during their spa day.

The lovestruck men even serenade them while singing the Backstreet Boys' hit, I Want It That Way. Although they are dressed as knights in shining armour that's not quite in keeping with the other modern updates.

Aside from this main story, there are the misadventures of comical side players. There are some great characterisations here, two of which become pivotal in adding the zestiest comedy to the show.

Jack Bardoe is hilarious as ridiculous Don Armado, often in tight shorts, Spanish sweatbands and over-friendly embraces while playing up to every cliche about Europeans and mispronouncing words with acute comic timing. He's rivalled by Nathan Foad's Costard for the laughs as a sarcastic, eye-rolling troublemaker with plenty of camp attitude. Straight man to their eccentricity but just as funny is experienced Tony Gardiner as Holofernes.



The comedy takes a little time to warm up, but once it does, there's no stopping this production. It turns into a silly, laugh-a-minute romp just ahead of the interval with a beautifully choreographed scene as the men try and hide from each other behind staircases and even up palm trees as the stage revolves, as shown with Thompson above.

Love's Labour's Lost is a charmingly stylish update of Shakespeare's romantic comedy that feels acutely relevant with a contemporary outlook and youthful cast. It's fresh, fun and alluringly attractive and will leave you with a spring in your step.

Rating: 4/5 stars
2 hrs 45 mins (including a 20 mins interval)

Book tickets for Love's Labour's Lost at the RSC website here . Tickets cost from £8.50.

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