By William Shakespeare
Adapted and directed by Tracy Cahill
Review by Kindle Carpp
Opening night can be an unpredictable beast, and Love’s Labour’s Lost proved no exception. Yet despite significant last-minute challenges, the production rose to the occasion with spirit, humor, and an admirable sense of camaraderie.
What might have rattled a less committed cast instead became a testament to flexibility, teamwork, and theatrical grit. Even on a rough first night, the production’s charm shone through, leaving strong confidence that future performances will run even more smoothly.
Opening night required considerable reshuffling of roles due to cast changes and late arrivals, and the majority of the company gamely rose to the challenge by playing double—and in some cases triple duty.
Understudies and principal actors alike stepped into unfamiliar territory with poise and professionalism.
MaryKate Kustas took on the dual roles of the Princess of France and Jaquenetta; Andrew Weiss assumed the mantle of King Ferdinand in addition to his planned role as the Forester; Brittany Lael balanced Lady Katherine alongside Costard the Clown; Jayton Newbury tackled Lord Dumaine while also portraying Holofernes and Mercade the Messenger; Ian L. Wight moved between Constable Dull and Lord Longaville; and James Lynch shifted from Boyet to Don Armado.
There was also a notable amount of cross-gender casting, a practical and effective solution given the play’s abundance of male roles.
There were moments between scenes when the seams of this last-minute casting were visible, as actors quietly cued one another, costumes were swapped at lightning speed, and entrances were reimagined on the fly.
At times, performers changed costume onstage or dashed off only to reappear moments later from another direction, a new wig or skirt barely secured. Minor costume mishaps and facial-hair rebellions added to the sense of controlled chaos. Rather than detracting from the evening, these moments underscored the cast’s determination to press forward and deliver the story with as much humor and resolve as possible.
Despite the last-minute changes, and perhaps because of them, the audience laughed throughout the evening—not at the performers, but with them and at the production itself. The humor consistently landed, making for a genuinely laugh-out-loud experience.
What truly anchors the production is Tracy Cahill’s clever and funny adaptation and direction of Shakespeare’s comedy. Her staging makes lively use of the entire theater, employing entrances both on and off stage to keep the action fluid, dynamic, and visually engaging. Cahill’s approach embraces the play’s wordplay and inherent absurdity, allowing the comedy to shine while keeping the story accessible and energetic.
Elizabeth Shipman’s costuming adds an extra layer of delight.
Dressing the King and Lords as Boy Scouts and the Princess and her Ladies as Girl Scouts is a playful, visually cohesive concept that enhances the production’s tone.
Coordinated accent colors, pink, yellow, green, and red, cleverly mark romantic pairings, while details such as matching argyle socks reveal a thoughtful eye for character and cohesion, resulting in a design that is both whimsical and clever.
While the ensemble as a whole deserves praise, several performances stand out.
Andrew Weiss delivers a fabulous King Ferdinand, skillfully balancing youthful bravado with a convincing sense of royal dignity. His command of the role remains steady even amid the evening’s shifting circumstances, anchoring scenes with confidence and grace.
MaryKate Kustas brings a calm, regal presence to the Princess of France, grounding her performance with poise and assurance. She navigates the role’s wit and authority with ease, making the Princess both commanding and engaging.
James Lynch’s Don Armado is laugh-out-loud funny, boldly expressive and gloriously over the top in the best Shakespearean tradition. His body language and facial expressions elevate every moment onstage, making Armado a consistent source of delight.
Brittany Lael’s Costard the Clown is equally delightful, leaning fully into the play’s bawdy Shakespearean humor. Her playful delivery keeps the audience laughing at every turn.
Jayton Newbury’s heroic double duty as Lord Dumaine and Holofernes culminates in a scene where his physicality leaves the audience genuinely breathless with laughter. His strong comedic instincts and versatility shine brightly, allowing each character to feel distinct despite the demanding circumstances.
This opening night of Love’s Labour’s Lost may have been shaped by circumstance, but it is ultimately defined by heart, humor, and an ensemble unwilling to let challenges overshadow the joy of performance. With such resilience and talent on display, this production reminds us that live theater’s greatest magic often emerges when things don’t go exactly as planned.
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