Blending Shakespeare’s comedy with the rhythm and passion of flamenco, Love’s Labour’s Lost at Shakespeare’s Globe transforms a familiar classic into something fresh and vibrant. Dynamic, witty and deeply musical, it is a production that proves both entertaining and inventive.
The plot remains faithful to Shakespeare’s original. The King of Navarre and his three companions vow to devote themselves to three years of study, renouncing all distractions, especially women. As soon as they make their pledge, though, they learn that the Princess of Spain (a slight change from Princess of France in the original play), accompanied by her three ladies, is on her way to the court. The predicament sets the scene for a series of comic encounters in which attraction grows, passions run high, and emotions are expressed through both poetry and dance.
What immediately sets this production apart is its embrace of flamenco. From the bullfight reimagined through dance to the musicians accompanying the action throughout, music becomes a language in its own right, stepping in whenever words are no longer enough to express the characters’ feelings. Rather than serving as an accompaniment, flamenco becomes one of the production’s principal storytelling devices. Performing live on stage throughout, the musicians become an integral part of the action, reinforcing the intimacy of the Globe while maintaining the production’s pacing and energy.
As is often the case with Shakespeare, the cast offers a varied gallery of characters, balancing comic performances with more emotionally grounded ones. Yet every member of the ensemble fully embraces the production’s musical language through singing, movement and dance. Group numbers are as compelling as solos, while the additional stage platform extending into the yard brings the performers closer to the audience and gives the choreography even greater immediacy.
Rhythmic footwork becomes an integral part of the storytelling, marking changes in mood and pace as naturally as the dialogue itself. Choreography by Carmen Igarza never feels like an ornamental addition; instead, it allows the characters to communicate emotions that lengthy speeches alone cannot convey.
This approach is particularly effective in the performances of Ned Costello as the King of Navarre and Philip Arditti as Berowne. Love’s Labour’s Lost is one of Shakespeare’s more linguistically demanding comedies, yet both actors deliver even the densest monologues with clarity and emotional conviction, keeping the text engaging. While Shakespeare uses the play to satirise intellectual vanity and the elaborate language of the court, director Indiana Lown-Collins ensures the themes remain accessible for a contemporary audience.
The visual design is also strong. Costumes draw inspiration from traditional flamenco dress, alongside the attire of toreadors and the Spanish royal court, creating a vivid palette full of colour, movement and character. The use of scenery, though, is very restrained. Apart from the King’s writing desk, no other furniture appears on stage, yet each location remains recognisable through dialogue, music and imaginative use of the performance space. The simplicity of the staging allows the performers and the choreography to remain firmly at the centre of attention.
Although the play remains largely light-hearted, its closing moments take a more sombre turn, with the lovers separated for the time being and the Princess’s court departing in mourning. The tonal shift is faithful to Shakespeare, but the second half consequently feels less cohesive than the exuberant first, becoming somewhat patchy in places despite the consistently strong performances.
Overall, Love’s Labour’s Lost at Shakespeare’s Globe is a vibrant summer production that successfully combines one of Shakespeare’s most challenging comedies with the passion and expressiveness of flamenco. Rich in music, movement and humour, it offers a fresh interpretation that remains true to the spirit of the original while bringing its own distinctive identity to the Globe stage.
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