William Shakespeare

Love's Labor's Lost

UNIVERSITY OF BRITISH COLUMBIA

FREDERIC WOOD THEATRE

Presents

William Shakespeare's

LOVE'S LABOR'S LOST

Directed byArne Zaslove

November 9 - 191983

A Note on Love's Labor's Lostby John Barton

Love's Labor's Lost is one of Shakespeare ' s

-

rmost perplexing texts . It is highly inconsistent,both in quality and style of writing . Passagesof jingling verbal dexterity, thin in dramatic

t+~content and loosely related to the characters' ,.situation, alternate with others as good as thebest in Shakespeare's mature comedies . The.changes are extreme and abrupt ; as extreme,

asay, as a play made up from assorted bits of r

Congreve, Chekhov, Eliot, and Gilbert and

y

Sullivan . This is partly because the text is

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obviously a revised one, full of odd omissions,interpolations, and inconsistencies . Partly, too,b

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ifbecause Shakespeare, while ringing the changes

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on the conventional comedy of the 1580's,

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Nkr ':i,is also discovering, in fits and starts, the comedy

:of mood and character which we now take for

~~

~~granted, but which in fact he first invented .

,~The play looks at the process of growing up.With the partial exception of Berowne andRosaline, there is very little contact, let alone

, ..relationship, between the lovers ; Longaville and William ShakespeareMaria . Dumaine and Katharine don't even speakto each other till the very end of the play.The men are as much in love with being in loveas with the thing itself . Wallowing in theirfeelings and in their powers of verbalising love,they are perhaps not all that aware of the actual On every level the play is built on appositionobjects of their love . The girls, too, are not and paradox . Everything derives from Shake-what they seem, and certainly not what they speare 's favourite juxtaposition of Ceremonyseem to their lovers . They have a surface and Nature. No sooner do the lords vowsophistication, and on public occasions may at hermithood and chastity than their pretensionsfirst blush, look like goddesses . But by them- are exposed by Costard, the natural man, whoselves they are more deb than courtier . The has been taken with a wench and is quitePrincess, a young girl sent on a political mission open about it . The Princess arrives with a greatbecause her father is ill, is shy, in some awe train on a political embassage, and finds herselfof the King, and none too sure about how to having to sleep in the fields . Armado sees him-cope with any situation . But when the news self as the Courtier of Courtiers, but he falls incomes of her father's death, she knows, like love with a country copulative and becomes aPrince Hal, that she has to grow up, take the ploughman . His love is ridiculous but is is alsothrone and rule . real, certainly as real as the self-indulgent love

The comedy moves in a series of reversals . of the rest . Every character and situation is

Nothing ever works out as expected . The quirks turned topsy-turvy.of human nature explode every situation, and The play ends with the moral dialogue of thethe wheel of fortune turns even swifter than in learned men : When the meadows are full ofthe History plays . Every character and situation delight, look out for the cuckoo ; and whenis set up in order to be sent up . The series blood is nipped and ways be foul—be merry,reaches its climax with the arrival of Mercade .

like the note of the owl .

"A fencing lesson" Left to right : Stephanie Berkmann (Maria), ArneZaslove, Tamsin Kelsey (Princess of France) and Pam Dangelmaier(Katharine) .

Photo : Marcel Williams

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To the Virgins, to make much of Time:

Gather ye rosebuds while ye may,Old Time is still a -flying;

And this same flower that smiles todayTomorrow will be dying.

The glorious lamp of heaven, the sun,The higher he's a getting,

The sooner will his race be run,And nearer he's to setting.

That age is best which is the first,When youth and blood are warmer;

But being spent, the worse, and worstTimes still succeed the former.

Then be not coy, but use your time,And while ye may, go marry;

For having lost but once your prime,You may for ever tarry.

Robert Herrick(1597-1674)

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LOVE'S LABOR'S LOST

Fantastic and contrived as they are, those absurd

What The Critics Said

vows to which the four friends commit them-selves in the initial scene spring from a recog-

It is a protest against youthful schemes of

nition of the tragic brevity and impermanenceshaping life according to notions rather than

of life that is peculiarly Renaissance . For theaccording to reality, a protest against idealising

people of the sixteenth century, the world wasaway the facts of life .

no longer the mere shadow of a greater Reality,Ernest Dowden (1875) the imperfect image of that City of God whosePlay is often that about which people are most towers and golden spires had domii ated theserious ; and the humourist may observe how, universe of the Middle Ages . While the thoughunder all love of playthings, there is almost of Death was acquiring a new poignancy in itsalways hidden an appreciation of something contrast with man's increasing sense of the valuereally engaging and delightful . . .For what is called and loveliness of life in this world . Immortalityfashion in these matters occupies, in each age, tended to become, for Renaissance minds, amuch of the care of many of the most dis- vague and even a somewhat dubious gift un-cerning people, furnishing them with a kind of less it could be connected in some way with themirror of their real inward refinements and their earth itself, and the affairs of human life there.capacity for selection . Such modes or fashions Thus there arose among the humanist writersare, at their best, an example of the artistic of Italy that intense and sometimes anguishedpredominance of form over matter—of the longing, voiced by Navarre at the beginning ofmanner of the doing it over the thing done— Loue's Labor's Lost, to attain "an immortalityand have a beauty of their own . It is so with of glory, survival in the minds of men by thethat old euphuism of the Elizabethan age—that record of great deeds or of intellectual excel-pride of dainty language and curious expression, lence ." At the very heart of the plan for anwhich it is very easy to ridicule, which often Academe lies the reality of Death, the Renais-made itself ridiculous, but which had below it a lance desire to inherit, through remarkablereal sense of fitness and nicety ; and which, as we devotion to learning, an eternity of Fame, andsee in this very play, and still more clearly in thus to insure some continuity of personal exist-the sonnets, had some fascination for the young ence, however slight, against the ravages ofShakespeare himself .

"cormorant devouring Time"Walter Pater (1885)

Bobbyann Roesen (1953)

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LOVE'S LABOR'S LOSTby

William Shakespeare

Directed byArne Zaslove

Costumes and Properties designed by

Sets and Lighting designed by

Brian H. Jackson

J . Amburn Darnall

CAST(in order of appearance)

KING OF NAVARRE Mark HopkinsLONGAVILLE Chris BeckDUMAINE Aaron NorrisBEROWNE Bruce DowDULL John MacKayCOSTARD Carlo CiottiDON ARMADO Luc CorbeilMOTH Carolyn SoperJAQUENETTA Pauline LandbergBOYET Patrick BlaneyPRINCESS OF FRANCE Tamsin KelseyMARIA Stephanie BerkmannKATHARINE Pam DangelmaierROSALINE Shauna BairdSTUDENTS Kathy Bracht, Carol NesbittSIR NATHANIEL Lyle MoonHOLOFERNES Jeff SmythMARCADE Chris RobsonAIDE-DE-CAMP Michael DeKoven

The Action occurs on the grounds of an academic institution circa 1914.There will be one intermission.

,

Front Cover PhotoUniversity of British Columbia 1983

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Photographed in front of the School of Theologya'

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Photo Credit : Marcel Williams

PRODUCTION

Technical Director Ian PrattProperties Sherry DarcusCostume Supervisor Rosemarie HeseltonSet Construction

Robert Eberle, Mark Gendron,Don Griffiths and John Henrickson

Lighting Execution Kairiin AseltineStage Managers Andrea Greenberg, Karen SwendsenAssistants to the Director Claire Brown, Brian FerstmanCutter Christina McQuarrieFirst Hand Anita SimardSeamstresses Wendy Foster, Ingrid TurkStage Crew The students of Theatre 250/350House Manager Colleen WilliamsonAssistant Stage Manager Marlene RogersProperties assistants Michael Cade, Colleen WilliamsonResearch Tony MontigueWardrobe Mistress Se Keohane, WiluyaBox Office Carol Fisher, Rose Ann Janzen and Lyle MoonBusiness Manager Marjorie FordhamProduction Norman YoungProgram Book Joseph MacKinnon

Act IV . Scene III "Now in thy likeness one more fool appear" . Left to right:Aaron Norris (Dumaine) and Bruce Dow (Berowne) .

"Like a demigod here sit I in the sky "Act IV Sc. 3 From a print of Robson and Co .

London 1969 "Did I not dance with you in Brabant

once?" Act II, Scene 1 . Joan Plowright as Rosaline

and Jeremy Brett as Berowne.

Act IV, Scene 3' Dumaine transform 3 . four wood

'cocks in a dish "(Illustration from an edition of 13(~`~

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B .F.A. in Acting and in TechnicalTheatre / Design

The University and its Setting

The FacilitiesThe University of British Columbia, established The departmental complex houses two fullyin 1915, has a present enrolment of 30,000 . equipped and professionally manned stages:It is located six miles from downtown Vancouver the 400 seat Frederic Wood Theatre with itson a campus that is regarded as one of the season of large-scale productions, and the 90most beautiful in North America . The Vancouver seat Dorothy Somerset Studio, which offers aarea offers a flourishing cultural scene and pro- series of chamber plays each year . Both theatresvides excellent opportunities for summer and have become an integral part of Vancouver ' swinter sports .

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Over the years the Department of Theatre at The University Library now has over two millionUBC has assembled a very strong faculty of volumes, including a rich collection of period-specialists . Their teaching covers all aspects of icals

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didates' potential by either audition (Acting) or

grammes give the exceptionally talented student portfolio (Technical Theatre/Design) .a thorough training of professional scope, Faculty Involved in the B .F.A.without neglecting any academic values . The John Brockington, Don Davis, Brian Jackson,programme consists of a carefully arranged Peter Loeffler, Ian Pratt, Charles Siegel, Donaldcombination of classroom work, private tutorials Soule, Klaus Strassmann, Stanley Weese, Nor-and stage exposure. Its breadth and focus make man Young, Arne Zaslove, J . Amburn Darnall,this B.F .A. one of the strongest and most and Steven Thorne.comprehensive on the continent .

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Act 1, Scene 1

"Your oaths are pass'd, and now subscribe your names"

Love's Labor's Lost is generally believed to have

10-been written especially for private performance

-.at some courtier's house in late 1593 . Theearliest extant text is the quarto of 1598, whichfurnished the copy for the 1623 First Folio . Nospecific sources for the plot are known . Incidentsin the play, however, resemble historical eventsoccurring in France during the sixteenth century, ":,and the main characters bear names similar to

,'those of contemporary French nobility . Veildtopical allusions to certain Elizabethan courtiersand literary figures have been detected.The plot revolves around the attempt of Fer-

tdinand, king of Navarre, to turn his court intoa Platonic-style academy for three years . Duringthis period Ferdinand and three courtiersLongaville, Dumain, and Berowne—vow to

.'

'abstain from any association with women . Thefoolishness of their oaths is quickly revealedwhen the princess of France, accompanied bythree sprightly ladies-in-waiting, arrives on adiplomatic matter . The earnest wooing thatensues is halted upon news of the death of the

'a 4 aprincess's father . Although the ladies must leaveNavarre immediately, they promise to accepttheir suitors as husbands after a twelve-month :

awaiting period . In the minor plot Don Armado,a comical Spanish nobleman, woos the countrylass Jaquenetta

. Act IV Scene Rehearsal Our Parson misdoubts it:Love's Labor's Lost is reminiscent in its tone and It

was treason he said ." Left to right : Carlo Ciottidiction of the artificial courtly comedies of John (Costard), Pauline Landberg (Jacquenetta) and MarkLyly . The ornate language, the wordplays, Hopkins (King of Navarre)

Photo : Marcel Williamsthe combats of wit, and the probable satireon Sir Walter Raleigh's scientific discussion the form of comedy most suited to express hisgroups (Shakespeare ' s "School of Night") are views on mankind . Despite flaws in plot structurethe stuff for courtly audiences . The only play of and superficiality in characterization, a clear-its type among the comedies, it shows Shake- cut theme emerges : the debunking of those whospeare 's flexibility in his early experiments to find believe learning can be divorced from life.

Shakespeare and Music

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f `submit or suggestions to make please contact:!Pre' .

Odean LongResearch Co-ordinatorShakespeare Music CatalogueUniversity of VictoriaP.O . Box 1700Victoria, B .C. V8W 2Y2

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