First read: Circa 1998, before I felt equipped to take issue with Shakespeare’s work.
Productions seen: One student production some time in the late 90s and the rather odd film adaptation with Alicia Silverstone.
Productions worked on: None. Long may that continue.
Edition I’m using: An elderly Arden.
- What the fuck did I just read?
- I think everyone reading this has already figured out that these observations are personal and immediate, and I’m not making any claims to any kind of dispassionate or academic response. That said, brace yourselves. My feelings towards this play are strong.
- Love’s Labours Lost is the kind of play that makes people hate Shakespeare. It’s overblown, overlong, long on wordplay and short on wit.
- In terms of structure, this is a mess. Three very short acts followed by two incredibly long ones. A fifth act that contains an entire masque. A boring, boring masque, that doesn’t end until after the plot (such as it is) has already concluded.
- The deft timing that makes some of his other comedy palatable is absent here. Every joke is made at least two or three times in a row just to make sure you get it, and also to pad out a play otherwise lacking in any kind of substance. There’s cumulative effect, and there’s DEAR GOD SHAKESPEARE MAKE IT STOP PLEASE PLEASE.
- The characters are almost all uninteresting and interchangeable. Berowne stands out by dint of being given marginally wittier lines than his comrades, and by having a speech that marks him out as a sort of proto-Benedick (because everything and I mean everything in this abysmal play will be recycled in Much Ado and As You Like It, both of which are pretty weak). The Princess of France is distinguished from her ladies only by the fact that she tends to be the one talking. The comic relief (never has that phrase been more ironically used) is an indistinct lineup of idiots whose verbosity is, I think, meant to be amusing… but isn’t. And the whole thing ends with the sad and sudden death of a characters whose existence we were only vaguely aware of.
- There’s absolutely nothing at stake for the characters in this play. The men have made an oath which they break immediately and feel no genuine anguish over. If their situation is meant to wound their pride, it would have been better to give them some. The women are motivated by that strongest of driving forces, namely being slightly miffed because the men are being weird. Seriously, the King of Navarre tells the Princess of France that he’ll put her up in a field and she’s merely a little bit put out? These are the wettest women in the canon thus far! I can think of another French princess of Shakespeare’s who would cheerfully start a blood feud for less…
- I had planned to quote a particular line so that I could mock the play with its own text, but I honestly can’t bring myself to open the script to look it up. I can’t stand the sight of couplets any more. Think I’m just going to leave this one here and be grateful that the next play on the list is R&J.
- To whoever managed to lose the text of Love’s Labours Won, I thank you from the bottom of my heart for sparing me from it.
NEXT TIME: Romeo & Juliet