Genesius Guild's Love's Labour's Lost
I admit that at Saturday’s opening-night performance, I was initially confused when Genesius Guild's Andy Shearouse explained both the entire plot of William Shakespeare’s Love’s Labour’s Lost and that the set was designed to represent the inner workings of a broken cuckoo clock. One might think both concepts would be self-explanatory. But alas, they were not. In the end, I was grateful for the introductory explanation.
In case your required academic reading lists also skipped the Bard's Love's Labour’s Lost, the plot goes a little like this. The King of Navarre (Brian Wellner) and his three companions swear to devote themselves to study and avoid the company of women for three years. Their resolve is quickly tested when the Princess of France (Patty Ulrich) and her ladies arrive, leading to many mistaken identities and a surprise ending atypical of most Shakespearean comedies. Genesius Guild’s script was adapted by Cait Bodenbender, and I’m glad for the wit she kept and the asides she added that made the night extra funny. (“Wenches, am I right?”)
Unfortunately, opening-night nerves were evident throughout portions of the performance. Long pauses occasionally interrupted the momentum as cast members appeared to search for lines. Shakespeare is not particularly forgiving in that regard; it’s difficult to ad-lib your way through verse while maintaining both the text’s rhythm and meaning. While these moments were noticeable, they did not completely derail the evening, and there was plenty of talent on display.
Among the standout performers were Christian Wellner as Costard and Pam Cantrell as Madame Holoferness. Both demonstrated excellent comedic instincts and strong command of their characters, their performances injecting energy into scenes that might otherwise have felt bogged down by the play’s lengthy speeches. That said, for a Shakespearean comedy, I did not feel this production leaned into its humor as much as it could have.
Scenic designer Miranda Callahan created one of the most colorful and visually engaging sets I've seen on the Lincoln Park stage. The central platform, complete with a ramp, and the brightly painted gears adorning the flats effectively captured the concept of a broken clock. The set also gave director Cameron Ulrich numerous opportunities for dynamic staging, particularly during the first act. Ulrich frequently had Noah Query’s Moth wandering through and around the audience. While I am generally not a fan of actors roaming through the crowd, it only became an issue when Query blasted an extraordinarily loud horn. I’m still not entirely sure what dramatic purpose that served, though it certainly succeeded in getting my attention.
The second act, however, felt noticeably more static. Too often, the staging relied on familiar arrangements of men standing on one side and women on the other. There are only so many times an audience can watch two lines of characters face one another before the visual interest begins to fade.
Costume designer, however, Shannon Ryan did some excellent work. The costumes helped establish both character and cohesion, particularly among the Princess’ ladies-in-waiting. I especially appreciated the coordinated belts the women wore, subtly reinforcing their unity as a group while still allowing each character to maintain her individuality.
Those ladies-in-waiting, Rosaline (fellow Reader reviewer Kitty Hooker), Maria (Alaina Pascarella), and Katharine (Anna Schneider), were among the highlights of the evening. Their chemistry was immediately apparent, and their scenes together sparkled with a natural sense of friendship. Whether gossiping, teasing one another, or reading letters from their would-be suitors, they brought warmth and energy to the production. Their interactions felt genuine, making the trio some of the most enjoyable characters to watch throughout the night. I will admit, however, that I was more than a little jealous of their fans during the second act. The Saturday-evening air was remarkably still, and any breeze would have been welcome.
Meanwhile, their counterparts, Berowne (Michael Kintigh), Dumaine (David Wellner), and Longaville (Wiz Woolley), provided an entertaining contrast as they attempted to woo the ladies, only to have their carefully crafted letters inevitably mixed up. What impressed me most about this threesome was their commitment to actively engage with what was happening onstage, rather than simply waiting for their next line.
Other strong performances came from Storm Marie Baca as Jaquenetta and Mischa Hooker (another fellow Reader reviewer) as Boyet. Across the board, Ulrich’s cast projected exceptionally well. Outdoor theater can present challenges, especially when competing with ambient sounds of a summer evening, but volume was never a problem. Even when individual performances varied, the cast remained easy to hear and understand.
That said, Love’s Labour’s Lost is probably not a show for everyone. My 11-year-old concluded that the reason nobody stages it very often is because “it’s boring.” While I do not entirely share her assessment, I understand where she’s coming from. The play’s heavy reliance on language, rather than action, can make it a difficult sell for contemporary audiences. Combined with a production that occasionally struggles with pacing, there were stretches in which the evening seemed to trudge forward unnecessarily.
Still, Genesius Guild deserves credit for tackling a challenging Shakespearean work. There’s much to admire in the colorful design, strong costumes, and several engaging performances. Audiences looking for an opportunity to experience one of Shakespeare’s lesser-known plays may find much to appreciate in this Love's Labour's Lost staging.
Genesius Guild's Love's Labour's Lost runs at Lincoln Park (1120 40th Street, Rock Island IL) through June 14, and more information is available by visiting Genesius.org.
