Art Beat Review: The Phoenix Theatre breaks the fourth wall in ‘Love’s Labour’s Lost’

Love’s Labour’s Lost is a high-energy, playful production that infuses William Shakespeare’s famously wordy comedy with a contemporary twist. Adapted and directed by Tracy Cahill of The Phoenix Theatre (TPT), this is TPT’s first Shakespeare production and promises witty wordplay and tomfoolery in equal measure. 

The play follows King Ferdinand of Navarre and his three lords as they swear off romance and distraction in favor of study and “common sense.” Their vows quickly unravel when the Princess of France and her ladies arrive, setting off a domino effect of flirtation, overheard confessions, disguises and poetic exuberance.

My Edmonds News was on the scene for opening weekend. Upon arriving at the theater, I was handed a slim playbill with multiple cast names crossed out in red pen. My first thought was: Could that many actors be out tonight on opening weekend?

A bit confused, I returned to the front of the house where Tracy Cahill (also serving as house manager) directed me to a QR code on the wall for the “updated and complete” playbill. Once seated, I spent some time squinting at my phone, trying to decipher who was playing whom. At that moment, Cahill steps onto the stage and gives a pre-show speech recounting the series of unfortunate events. Then, I notice a small label on the corner of the playbill in hand: “This is a Prop. Please Return”.

Ah! A cheeky introduction to the evening as Cahill cleverly opens the performance with a theatrical sleight of hand that left the audience, at the edge of their seats,  guessing what was scripted and what was spontaneous throughout the play.

On stage, three constructed cherry blossom trees line a painted grassy path, marked with pebbles that separate the vast green fields from the castle. On a small piece of furniture sit several stacked books wrapped in a belt strap, signaling perhaps that young King Ferdinand’s “little academie” is near.

Andrew Weiss steps in as King Ferdinand of Navarre, capturing the character’s idealism, charm and quixotic nature. He and his lords appear in Boy Scout uniforms, argyle socks and scout hats – a playful nod, perhaps, to Shakespeare-era flat caps. Jay Rairgh’s Lord Berowne stands out for his tenderness while Jayton Newbury as Lord Dumaine and Ian L. Wight as Lord Longaville round out the comedic troupe. Will they outswear Cupid? 

Brittany Lael as Costard the Clown displays confidence, physical comedy and quick on-stage changes, complete with a comical handlebar mustache. Angeline A. Nguyen as Moth bursts onto the stage, exasperatingly exclaiming about coming from a protest before quickly stepping into her role. The metatheatrics thread continues, and the audience loves it.

Don Armado appears with a rapier and clad in leather, James Lynch perfectly embodies the character’s bravado and excess. Lynch is spectacular in the role, eliciting hoots and hollers from the audience. One viewer even exclaimed, “He is good!” Lynch’s comic timing and physicality consistently land.

The ladies, also reminiscent of a troupe of Girl Scouts, arrive in argyle socks, plaid skirts and berets. Led by MaryKate Kustas as the Princess of France, Kustas balances wit with restraint, grounding the play. Lady Maria (Nguyen), Lady Katherine (Lael) and Lady Rosaline (Britta R. Grass) form a cohesive, gossiping, mischievous ensemble. Grass plays both Lady Rosaline and Nathaniel and is particularly funny and sassy.

Lynch also plays Boyet, joining in the ladies’ gossip and delivering lines like, “His heart, like an agate, with your print impressed,” offering his own sly observations. At one point, he is momentarily hidden behind a cape while making an on-stage costume change back to Don Armado. The cast points in every direction to distract the audience from noticing this small detail – the clever, recurring thread of misdirection that kept the audience in stitches.

King Ferdinand, with a smirk typical of someone pleased with his own reasoning, announces, “Are we not all in love?” Meanwhile, the Princess of France demonstrates her own emotional intelligence, telling her ladies, “Mock for mock is only my intent.” Together, the lords and ladies dance between bawdy humor and zany verbal sparring.

Meanwhile, Moth (Nguyen) wields a recorder, à la Mr. Keating, playing symbolic tunes throughout the play, adding a touch of whimsy.

As the play draws to a close, the cuckoo song, sung beautifully by Lael, serves as a reminder of love’s unpredictability. As the Ladies return to France, the characters remain in suspended anticipation, but the audience, in turn, is left smiling at the play’s whimsical antics and joyful energy.

I glance back through the playbill on my phone and note that this is Jonathan Olson’s first time serving as set constructor for TPT. The cherry blossom trees are my favorite, and I admire the attention to detail throughout the whole set.

Costume Designer Elizabeth Shipman brings a cheeky, thoughtful touch to the production, translating each characters’ personalities into a comedic visual language. 

The Phoenix Theatre’s Love’s Labour’s Lost is a celebration of Shakespeare’s wordplay, infused with theatrical elements that break the “fourth wall” and invite audiences into the heart of the performance. By blurring the line between reality and illusion, Cahill engages audiences on a deeper level, asking us to question what’s real and what’s part of the conceit. 

The show runs through Feb. 22 at The Phoenix Theatre in Edmonds. Get tickets online or through the theatre’s box office.

Based in Edmonds, Nahline Gouin is a freelance writer, ceramicist and arts advocate with experience in art museums and performing arts centers. She continues to create with clay, homeschool her son and write as a creative practice.