Love’s Labour’s Lost at Orange Tree Theatre

Perhaps among the most British experiences one could encounter is watching a Shakespeare play sat in the grounds of an esteemed Richmond college, fanning oneself in the heat of a mid-afternoon August sun. Thanks to the Guildford Shakespeare Company and Orange Tree Theatre, this is exactly what can be expected (providing it doesn’t rain) from their production of Love’s Labour’s Lost as part of a double bill alongside Much Ado About Nothing, transferred from Braboeuf Manor.

While the Orange Tree Theatre website suggests experiencing the whole two-parter, Love’s Labour’s Lost does stand on its own merits. Director Tom Littler’s adaptation takes place in the pre-WWII English countryside; as set and costume designer, Neil Irish breathes life into this vision with a classy flourish, a suitable accompaniment to the striking Thomas’s College building in the background. Tying it all together is Matthew Floyd Jones’s music, giving sprightly touches and buoyant swinging embellishments to Shakespeare’s words.

The script lends itself surprisingly well to a pre-war setting, as the cast performs in a manner reminiscent of Phil Willmott’s Dick Barton musical comedies, or Patrick Barlow’s adaptation of The 39 Steps, right down to the chaotic and farcical moments. Benedick Berowne – an amalgamation of the two characters across both plays – stands out thanks to James Sheldon’s broad performance of the foolish lovesick hero, while the remaining male characters in the visiting group each bring their individual hapless flair. As the intended comic relief, Jeremy Lloyd’s portrayal of Costard is reliably hilarious, yet still provides some unexpected laughs with an audience interaction, leaving them excitedly awaiting his next appearance.

The women, meanwhile, tend to move as a flock under the wing of the Princess of France (Sarah Gobran), only breaking free from one another as the play reaches its end. It could be argued there’s strength in unity against these clumsy men, but each character feels like more fleshing out is deserved. There are glimmers from Phoebe Pryce’s Beatrice (taking on Rosaline’s role), yet she truly shines towards the end of the second act, as her sharp wit mercilessly tears the men down.

The reverse could be said of Don Armado, entering at full throttle and never slowing down; Robin Simpson’s take on this character is a complete whiplash from Friar Boyet, whom he steps into immediately following a scene as the Don. It’s a remarkable talent, yet one does question whether Don Armado’s characterisation here is too brash, or whether this was intentional.

A highlight of the show, however, is the final few minutes. Without spoiling it for the uninitiated, the sudden emotional climax and touching conclusion are both beautifully handled, leaving a lasting impression.

For all its occasional unevenness, the lively performances and playful setting for this production of Love’s Labour’s Lost make for an entertaining afternoon – there’s plenty to enjoy as it brings Shakespeare’s wordplay to life with a vivacious energy, before landing an unexpectedly poignant final note.

Gem Hurley
Photos: Harry Elletson

Love’s Labour’s Lost is at Orange Tree Theatre from 31^st July until 22^nd August 2026. For further information or to book, visit the theatre’s website here.

Watch the trailer for Love’s Labour’s Lost at Orange Tree Theatre here: