Now in its 33rd summer, Shakespeare by the Sea continues to breathe new life into centuries-old texts with bold direction, local heart, and open-air magic.
This year’s production of Love’s Labour’s Lost is directed by Lynn Panting, and transforms one of Shakespeare’s most linguistically rich comedies into a fresh, fast-paced performance full of laughter, music, and unexpected tenderness.
Set against the ivy-covered backdrop of Toulinguet Close on the Memorial University campus, the performance began with a warm welcome from Sharon King-Campbell.
Her words didn’t just introduce the show, she invited the audience in. That gesture set the tone for a production that didn’t hold Shakespeare at a distance but pulled us into its joy, wit, and chaos with open arms.
The play follows King Ferdinand of Navarre (John Healey) and his three companions—Berowne (Christian House), Dumaine (Jasper Perry), and Longaville (Evan Maddick) as they pledge to forsake pleasure, food, and women in pursuit of scholarly discipline.
Naturally, their plans are foiled by the arrival of the Princess of France (Hannah Tuck) and her clever entourage, Rosalind (Jayne Batstone), Maria (Allison Clarke), and Katherine (Lu Qiao) on a diplomatic mission that quickly devolves into a game of wit, disguise, and flirtation.
Panting’s direction doesn’t shy away from the play’s density, it leans into it with clarity and confidence. The actors delivered Shakespeare’s text with passion and sharp comedic timing, making even the most elaborate wordplay feel fresh.
Berowne’s speeches, performed by Christian House with intelligence and irreverent charm, stood out for their emotional depth and comic timing, especially in his scenes with Batstone’s razor-sharp Rosalind.
Their back-and-forth teased out the play’s recurring tension: logic vs. love, oaths vs. instinct.
Modern music, which was ranging from The Tragically Hip and Franz Ferdinand to The Head and the Heart, gave the show its heartbeat. The contemporary soundtrack served not just as fun interludes, but as an emotional throughline, echoing the characters’ growing vulnerability and turmoil.
A dance break set to “Take Me Out” turned into a hilarious battle of masked flirtation. These musical choices created what felt like a modern take on desire itself, awkward, joyful, and a little chaotic.
The ensemble was electric throughout. Jamal Weekes as the lovestruck Don Armado, Cameron Wilcox as the delightfully daft Costard, and Mandy Singer-Armstrong as Jaquenetta brought texture and unpredictability to the eccentric subplots.
These characters may be secondary on the page, but in this production they were scene-stealers, especially in the way they interacted directly with the crowd.That interaction was no gimmick. It was one of the production’s greatest strengths.
The cast moved through the audience with ease, acknowledged our reactions, and played off our energy. The show blurred the line between performance and participation. At times, it felt less like watching a play and more like being inside one. If the cast made any mistakes, it didn’t show.
The performance was so human and so alive, it was like you were cast into the moment with them. Every beat felt spontaneous, yet entirely on purpose.
The chemistry and trust among the ensemble carried through every twist in tone, from wordplay to vulnerability, from parody to real emotion.
In her director’s note, Lynn Panting reflects on her personal connection to this play, having performed in a Shakespeare by the Sea production of Love’s Labour’s Lost in 2010.
This staging, dedicated to her late friend and co-star Vanessa Woodford, feels like a full-circle moment: a celebration of love, community, and theatre as shared memory. That love was felt in every moment of the performance.
Love’s Labour’s Lost ends on a bittersweet note, deferring resolution in favour of reflection. This production embraces that ending with maturity and grace. It’s not just a comedy, it’s a meditation on timing, connection, and the unpredictability of human emotion and in this vibrant, music-filled, laughter-soaked staging, Shakespeare by the Sea reminds us:
love doesn’t always come easy
but it’s always worth the risk.
On July 26th and 27th, Love’s Labour’s Lost will be performed inside the Whale Atrium of the Core Science Building, Memorial University, and will return to Toulinguet Close on August 2nd and 3rd at 6pm. Tickets are $20.
