Review by Liz Eichler
If you’re in need of a laugh or feeling nostalgic for the innocence of your youth, Cincinnati Shakespeare Company’s Love’s Labour’s Lost might be just the ticket. Director Matthew Lewis Johnson transports William Shakespeare’s story written in the 1590’s to the neon-soaked pulse of the 1980’s. He’s delivered a production with clear nods to the Reagan era, John Hughes and classic ’80s films. You’ll catch echoes of The Breakfast Club, Pretty in Pink, Ferris Bueller’s Day Off, Desperately Seeking Susan, and more, along with references to Schwarzenegger and a generous helping of raunchy high-school humor. If that’s your vibe, this production leans into it wholeheartedly.
The Plot and Characters
The plot adapts neatly to an ’80s high-school frame: the King of Navarre and his three best friends take a vow of celibacy to devote themselves to study for three years. Naturally, the Princess of France and her entourage arrive immediately after, and sparks fly—four times over. With their vow complicating everything, Shakespeare’s familiar mix of comedy, wordplay, and farce comes into play. The fun comes to an abrupt halt, however, when news arrives of the King of France’s death. The Princess—now Queen—must return home, and everyone agrees to wait a year to see if their feelings endure.
The strongest sparks fly between Rosaline (Jasimine Bouldin) and Berowne (KP Powell) who speak with their hearts, making the Shakespearean language easy and clear. As King Ferdinand, the head of the boys’ pack, Patrick Earl Phillips shows his leading man qualities, in a Miami Vice-like suit and flowing blonde wig. (Costumer Rainy Edwards appropriately substituted gold oxfords, for the Crayons canvas oxfords often paired with a suit in the 80’s.)
Courtney Lucien as the Princess of France shows strength, charm, and hot pink fashion choices. Dani Grace Nissen channels the awkward and weirdness of Ally Sheedy, and Elizabeth Chinn Malloy covers Madonna’s stylings. Their chaperone is the “classy and sassy” Boyet (Billy Chace, who never disappoints.) Strongly filling out the men’s group are Jason Coffenberry as the more buttoned-up Dumain and jock Grant Niezgodski as Longeville (and yes, there’s plenty of wordplay on his name).
Lots of Humor For the Groundlings
Subplots amplify the whimsy and foolery. The fantastically odd “foreign exchange student” Don Armado (the intense and committed Giles Davies in a punk but clownish outfit) falls in love with Jaquenetta (Hannah Gregory, channeling a wonderful Jennifer Coolidge-style lunch lady). Jeremy Dubin’s custodian Mr. Costard also harbors feelings for her. Jim Hopkins (self important teacher-who-should-have-retired Holofernes) and Aiden Sims (Nathaniel, his geeky student fan) offer additional comic tangents. The clowning is amplified with Cary Davenport as nerdy but musical Moth supporting Don Armado’s quest. Robert Carlton Stimmel nimbly covers three roles, and makes the most of the gym teacher.
The Creative Team
The creative team leans fully into the ’80s aesthetic. The neon lighting (Watson) sets the tone immediately, though at times the boldly colorful floor and walls (Samantha Reno set Design) draw attention away from the action. Very clever sound cues (Robert Carlton Stimmel) fill in the water, paper towels, etc. of the cartoonish 2-D set. The music choices firmly anchor the production in the decade. Many of the characters get a solo number, with Jim Hopkins’ “Rock Lobster” a crowd favorite. There are lots of great retro moves in various dances, urging the audience to clap and dance along (choreography by Susan Jung).
Overall
Overall, if you’re looking for light entertainment packed with easy laughs, this production will take you right back to getting frozen yogurt (or Graeter’s!) at the mall. Love’s Labour’s Lost is a sweet, bright confection.
Tickets
Love’s Labor’s Lost runs through December 6, 2025. For tickets and more information, contact the box office HERE. Splurge on the lower gallery seats for the fully interactive experience, as the performers come through the aisles, and connect with the crowd.
