Review: Love's Labour's Lost (Braboeuf Manor)
- All That Dazzles
- Jul 12
- 4 min read
Review by Oliver Briggs
⭐️⭐️⭐️⭐️⭐️
As Guildford Shakespeare Company (GSC) celebrates 20 years of producing works, they’ve partnered with the Orange Tree Theatre (OTT) to bring audiences into the world of Shakespeare's Love’s Labour’s Lost. A rom-com that tests morals and commitments against adoration and love. GSC was formed in 2006 by co-founders Matt Pinches and Sarah Gobran, who have brought many of Shakespeare's plays to life. Be it on stage, in schools, or as open-air performances in unique and immersive ways. Both co-founders still perform in many of the company’s productions. The OTT started out as a fringe venue hosting daytime performances for the Richmond Fringe in 1971 and has since become a well-renowned permanent theatre in the round. Tom Littler is the glue between these two companies, having directed many plays for the GSC between 2013 and 2022, and then becoming artistic director and joint CEO of the OTT. The collaboration since 2025 was inevitable and so very rewarding.
I was truly transported to 1939 in this production adapted by Tom Littler. Four high-society gentlemen swear off attractions to women for three years of education, their pact uprooted as four gorgeous women make a sudden appearance. Through misplaced letters and mistaken confessions with Russian disguises, the pact is thrown out the window. When the trickery is revealed, and a pageant for the Nine Worthies is interrupted by the death of the Princess’ Father, the men are vowed to return in a year and a day to prove their love is true. Riddled with wordplay, puns, and witty humor, Littler’s adaptation doesn't hold back. Fantastically, though an amazing play on its own, The GSC’s and OTT’s simultaneous production of Much Ado About Nothing is set 6 years and 1 day in tandem with Love’s Labour’s Lost story, which I find makes for an exceptional day out.
The cast consisted of ten equally commanding ensemble members who beamed with exceptional stage presence and yet didn't pull focus from a scene. I found the chemistry onstage between this group of actors was exceptional and allowed for the humor and wit to really shine through. There was a lot of energy and enthusiasm behind each character portrayed, which maintained a strong pace and moved the story at a comfortable rate. Owen Oakeshott, Matt Pinches, James Sheldon, and Chirag Benedict Lobo create the band of four high society gentlemen. Their lady equivalents are played by Sarah Gobran, Joëlle Brabban, Phoebe Pryce, and Sally Cheng. Finally, Jeremy Lloyd and Robin Simpson provided exceptional comic relief, with a few other roles being played by members of the company.
I found the direction of Tom Littler to be entirely remarkable. I love how, throughout the performance, I feel as though I could have paused time, taken a photo, and it would look beautiful. He makes full use of the levels that Braboeuf Manor and the woodland behind provide. I loved how he used gaps in the woodlands and paths that were visible from far away to develop relations that were already developing on the main stage, particularly during entrances and exits. The power dynamics and ties between different characters were so subtly created in an amazing way. It felt as though I could see literal strings between performers that wanted to pull them together. His direction meant that storyline development was clear and essentially used performers as his brushes to paint an artwork, a very humorous and comedic artwork.
The set design by Neil Irish was perfect. I love how borders were created between the stage and the woodland behind; however, they did not hinder the view. In a way, the set complemented the landscape and celebrated it as a part of the performance. The set, with its gentle colours and the way it embraces earthy tones with mellow blues and varying shades of brown, not only brought me to a riverside bar set in 1939, but also a warm and inviting place. The way the set was spread to either side of the audience made me feel as though I wasn't just watching Shakespeare, but instead I was also at this riverside bar. I appreciate the use of simple cast-iron garden furniture as it was elegant but didn't stand out so much to the point of pulling focus or being out of place. It also reminded me of my old folks' garden, which is another comfortable place that I felt invited into. Overall, the set was Goldilocks’ porridge, not too minimal, not too grand, but just right.
Matthew Floyd Jones composed a brilliant few original pieces of music for this production that covered transitional sequences, suited the mood or the emotions flowing at the time in the piece, or songs sung by members of the company. Though not enough to render this Shakespeare a musical, the moments of song were well-earned and chosen. I found the music was like a flower blooming. It happened so naturally, and the result was so beautiful in the way it invited the next scene or moment like a bee to pollen.
Between both Love’s Labour’s Lost and Much Ado About Nothing, I enjoyed how both storylines work back to back and as though it was just one large 4-hour play. I enjoyed the small nods to detail and how you wouldn't be confused by them if you just saw the one play, and could get a good laugh if you saw both. I adore how the characters have been named between shows, like with Benedick Berowne just being a combination of Berowne from Love’s Labour’s Lost and Benedick from Much Ado About Nothing, because the characters are so strikingly similar.
In summary, I find this to be an unmissable piece of immersive, open-air theatre that will undoubtedly stick with you, and maybe for those who are less keen on Shakespeare, it will change your life, and you will wonder, what on earth was I thinking, because I know that's how I used to feel. The design of the production is out of this world and transports you back to 1939, so much so that you may never want to leave, with a hunger for more. Lucky for you, Love’s Labour’s Lost runs tandem with the GSC and OTT’s Much Ado About Nothing, so you can have more!
Running until 25th July at Braboeuf Manor and then 31st of July - 22nd August at Thomas’s College, Love’s Labour’s Lost is one to see before you lose the chance to see something you’ll love.
Tickets here: