Booked & Scene

When the King of Navarre and his three companions swear off women for three years to pursue study and self-discipline, it’s a promise destined to be broken the moment the Princess of France and her ladies arrive. Shakespeare’s Love’s Labour’s Lost is a comedy full of witty wordplay, clever banter, and unexpected heart, as the men struggle to keep their vow while falling head over heels. This production, directed by Justin Genna, brings fresh energy and a modern edge to one of the Bard’s more whimsical plays.

The Crown Jewels
Some performances simply glowed from start to finish, and at the center of that brilliance was David Keohane as Berowne. From his first entrance to his final moments, he was magnetic, sharp, charming, hilarious, and sincere. His camaraderie with Nate Oaks, Alex Strzemilowski, and Evan Turissini lit up the stage, and watching the four of them banter, debate, and eventually fall in love was one of the best parts of the night. His chemistry with Eryn O’Sullivan’s Rosaline was electric. Their playful jabs, lingering glances, and moments of emotional vulnerability had weight and spark, making their arc feel particularly grounded and satisfying in a show with over the top comedic moments. A special nod, too, to Justin Genna’s clever staging choices, like Berowne sprawled on a rock writing a love letter on the side of the stage, giving the performance an added layer of intimacy.

Lily Narbonne brought both elegance and command to her role as the Princess of France. Her presence was undeniable. She swept onto the stage with purpose, humor, and poise, leading her fellow ladies and holding her own in every interaction with the men. She also looked completely regal thanks to her striking costume, and her ability to balance grace with wit made her incredible in every scene.

The Court of Comedy
Evan Turissini gave a standout performance as the King of Navarre. His delivery was crystal clear, his comedic instincts razor-sharp, and his grasp of the language made the show feel accessible. Even those who might find Shakespeare’s words intimidating would have had no trouble following along with his thoughtful, engaging performance. Debra Wise as Costard was nothing short of hilarious. She delivered her lines with total confidence, commanding the stage whether she was at the center of the action or reacting from the sidelines. It felt like this role was written for her, and her comedic timing was impeccable. Eryn O’Sullivan’s Rosaline matched Berowne beat for beat. Their connection felt like more than just two actors saying lines, they had a perfect mix of flirtation, sharp humor, and genuine affection. She nailed every comedic turn and heartbreaking moment, and her costume was a showstopper absolutely iconic from the moment she walked onstage.

Supporting Acts, Steady Hands
In smaller roles, several performers still left a big impression. Nate Oaks as Longaville had built every joke and delivered every punchline like a pro, and his dancing in Act Two was laugh-out-loud funny. Stuart Siegel offered a steady, grounding presence to the show. His delivery helped bridge some of the more confusing plot points, and those moments of clarity were appreciated. For audiences less familiar with Shakespeare, his performance served as a quiet guide, helping us stay on track without ever pulling focus.

Fit for a Modern Court
This production isn’t afraid to make Shakespeare feel current. The modernization choices worked well throughout: subtle but effective in helping the language land without losing the heart of the original. The program’s act breakdowns were an added bonus, offering a helpful reference that enhanced the experience. Jen Greeke’s costume design deserves special mention as well. The looks were stylish and character-driven, grounding us in the world of the play while still feeling contemporary.

A Bit of a Bump in the Bard
While most of the production worked beautifully, a few elements didn’t quite land for me. The large curtain-like panels on the stage were a bit distracting. I wasn’t sure whether they were intentional set pieces or part of the venue itself, but in the outdoor setting, they flapped in the wind and occasionally blocked the performers, pulling focus from the action. The minimal set overall was effective, but I did find myself wanting just a little more—some variation in levels or visual depth might have helped create stronger stage pictures.

The comic pageant in the final act overstayed its welcome. While the modernization was clear and the intent made sense, the pacing dragged on, and what began as fun started to veer into camp. A shorter version might have packed a stronger punch. Finally, the closing “Spring and Winter” song felt tonally out of place with the rest of the show. Coming right after the pageant, it didn’t quite land emotionally or comedically as a finale.

Love’s Labour’s Found in Rockport, MA
This was my first visit to Lanes Coven Theater Co., and it certainly won’t be my last. As someone who isn’t always sold on Shakespeare, I found myself laughing throughout and fully engaged thanks to a production that honored the original while making it feel fresh and inviting. The performances were warm, the staging was thoughtful, and the show proved that with the right cast and care, even centuries-old text can feel completely alive. Sometimes all you need is a little love, a little laughter, and a summer night at the theater. Love’s Labour’s Found runs through July 27.