By Jake Goodall
“Your wit’s too hot, it speeds too fast, ’twill tire.” Footlight Theatrical’s Love Labour’s Lost sets hearts ablaze with wit and charm in a dazzling Queensland Premiere at the Ron Hurley Theatre in Seven Hills!
William Shakespeare’s brilliant and hilarious comedy takes centre stage as the King and his friends swear off women, only to find themselves falling in love with a princess and her ladies.
The ensuing courtship and a year of separation make for an unsatisfying yet tantalizing ending, leaving the audience yearning for more. Could Shakespeare’s elusive sequel, ‘Love’s Labour’s Won,’ hold the key to further adventures? Only time will tell, leaving us at the mercy of the bard’s whims.
The production’s set, masterfully designed by Ian Johnson, immerses us in a visually stunning world reminiscent of Mamma Mia. The use of Greek-inspired elements and a towering white wall representing the King’s house are executed with finesse, while the on-stage spa adds an unexpected touch of luxury. The true gem of the set, however, lies in the exquisite gazebo housing the band, adorned with twinkling fairy lights. Rueben Stewart’s lighting design enhances every scene, casting the perfect ambiance.
Under Roslyn Johnson’s direction, the story and music take the spotlight, ensuring a seamless flow throughout. While some blocking felt static at times, the actors’ well-developed characterizations, a crucial element of Shakespearean comedies, shine through. Benjamin Richards’s masterful music direction brings out the best in the cast, who have worked diligently on their vocals and learned an impressive array of songs. Though occasional pitch issues arise, they are sure to fade as the production continues. Special mention must be made of the remarkable band led by Richards, hitting every note with precision. Completing the creative team, Jaide Camilleri’s choreography, though minimalist, propels the narrative with precision and elegance.
The sensational 17-person cast delivers from start to finish!
William Boyd embodies the King with rigid sophistication and a crystal-clear voice that soars. Andrew Engelsmann’s Berowne exudes longing and tenderness, capturing the essence of a true romantic. Adam Goodall’s Dumaine adds a comedic touch with hilarious one-liners that perfectly complement the production. Jack Barrett’s portrayal of Longaville, particularly during the show-stopping tap number reminiscent of “A Chorus Line,” is nervously endearing.
Sarah Engelsmann’s sassy and composed Princess channels a modern, hip Cinderella, while Samantha Graham’s Rosaline rocks the stage with powerful vocals, leaving a lasting impression. Amelia Burton and Sam McLaughlin form a side-splitting comedic duo as Maria and Katherine, bouncing off each other effortlessly. Nicholas Sayers’s exceptional talent shines through in the brilliant characterization of Boyet.
Dan Konstantinos steals the show as Don Armado, leaving the audience in stitches with every appearance. Isaac Brown as Moth and Rhona Bechaz as Jaquenetta provide excellent support, enhancing the trio’s comedic chemistry. Completing the ensemble, Isaac Tibbs as Costard, Hannah Macri as Dull, Tammy Sarah Linde as Holofernes, Ashleigh Cates as Nathaniel, and Mady Flatters as Mercade each contribute to the production’s plot with crucial roles.
In summary, this production promises a fantastic night out, filled with belly laughs that will resonate long after the final curtain call. Every aspect of the play has been meticulously crafted, honoring Shakespeare’s timeless work. BRAVO, indeed!
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