Love’s Labour’s Lost

  • Katharine Goodland
  • John O’Connor
Part of the A Directory of Shakespeare in Performance Series book series (DSP)


Not only are we given the grandiloquent and passionate outpourings of the lovers, but also the schoolmasterish comedy of the pedant Holofernes and his group of worthies. The director, Michael Bawtree has done little with all this. He has set the play in the eighteen-twenties, because, he says in a program note, he felt that this period, like the Elizabethan, was, with its stirrings of Romanticism, a similar time of change. Really; These Canadians seem addicted to time-traveling in Shakespearean comedy and almost invariably, as in this instance, getting nothing worthwhile out of the time change. The language of Shakespeare simply is not the language of Byron, and their philosophies are equally dissimilar… Mr. Bawtrees production … is a mishmash of styles, gabbled verse speaking and indifferent acting. Only in the ending does the staging achieve anything of interest, but even this decent melancholy has been spoiled by what has gone before. (Clive Barnes, New York Times, 7 June 1974)


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Copyright information

© Katharine Goodland and John O’Connor 2010

Authors and Affiliations

  • Katharine Goodland
  • John O’Connor

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