“One of the joys of Shakespeare is that no matter how many productions you’ve seen, there is always the possibility of being surprised.”
William Shakespeare remains the most famous and influential playwright in history. His work has shaped centuries of literature, theatre and storytelling, inspiring generations of writers, actors and directors. Yet every so often a production comes along that makes you feel as though you’re encountering something new. Shakespeare in the Squares’ Love’s Labour’s Lost did exactly that.
I’ve seen a great deal of Shakespeare and performed plenty of it too, but Love’s Labour’s Lost is one of the plays I know the least. It can be a challenging piece, packed with wordplay, disguises, shifting romantic alliances and some of Shakespeare’s densest language. But from the opening moments of Toby Gordon’s production, I never felt lost for a second.
Part of that comes from the clarity of the direction. Gordon has found a way to make every relationship, comic misunderstanding and emotional development completely legible without ever simplifying the text. The production feels welcoming whether you’ve spent years studying Shakespeare or are encountering the play for the first time.
The setting helps enormously. Performed outdoors as part of Shakespeare in the Squares’ summer season, the production benefits from a genuinely beautiful venue. There is something special about watching Shakespeare beneath an open sky. It creates a connection to the way these plays were originally experienced and evokes something similar to the atmosphere of the Globe. The audience aren’t separated from the action, they’re invited into it.
The evening begins with an upbeat musical number that immediately establishes the production’s playful spirit. Music runs throughout the performance, and Gordon’s decision to incorporate the sounds of the 1960s and 70s proves inspired. Even a rendition of “Hooked on a Feeling” is woven into the action so naturally that it feels completely at home.
What impressed me most was how seamless the entire production felt. The cast create such a relaxed and playful rapport that it often becomes impossible to tell where Shakespeare’s script ends and spontaneous invention begins. There were multiple moments where I found myself wondering whether something had been carefully rehearsed or had emerged in response to the audience and environment around them. It gives the production an energy that feels genuinely alive.
The company are excellent throughout. Nathan Musoki brings warmth and sincerity to Ferdinand, while Laura Andresen Guimarães makes the Princess of France both commanding and charming. Rhiannon Neads and Niall Ransome are wonderfully matched as Rosaline and Berowne, capturing both the wit and affection that underpin their relationship. Flo Lundon and Emma Manton provide equally strong support as Katharine, Jaquenetta and Boyet.
The standout comic performance comes from Dexter Southern. His Armado is consistently hilarious, generating some of the biggest laughs of the evening without ever feeling exaggerated or forced. Southern understands exactly how much confidence Shakespearean comedy requires. The performance is delightfully ridiculous while remaining completely believable within the world of the play.
Visually, the production is just as successful. Emily Stuart’s design work and the costume supervision of Colette Robinson-Collcutt help create a vibrant world that feels both playful and polished. The costumes are particularly striking and contribute enormously to the production’s atmosphere, adding colour and character without ever distracting from the performances.
What I admired most about this production was its sense of confidence. There is no attempt to apologise for Shakespeare, modernise him beyond recognition or explain every joke. Instead, the company trust the material and trust the audience. The result is a production that feels fresh, accessible and full of life.
By the end of the evening, I wasn’t simply impressed by the production itself. I found myself wondering why Love’s Labour’s Lost isn’t performed more often. Shakespeare in the Squares have taken one of the playwright’s less familiar comedies and transformed it into a joyful, hilarious and thoroughly engaging evening of theatre.
Love’s Labour’s Lost runs as part of Shakespeare in the Squares’ Summer Tour 2026, visiting gardens and squares across London throughout the summer. Tickets here.