Love's Labour's Lost
at Mater Dei

Reviewed on February 14, 2019

Lila Holley
San Juan Hills
Submitted for publication to OC Register

Mater Dei's Love's Labour's Lost Laughs Its Way Through Loss
written by Lila Holley, a senior at San Juan Hills High School

In the midst of the brewings of World War I, four gentlemen sworn to abstinence and four French court ladies find themselves caught in the entanglements of love; however, with swapped letters, elaborate masks, and Russian dancing, love is never as simple as it seems. Mater Dei's Love's Labour's Lost explores the inevitability of human desire- both the desire to fall in love and the desire to cause mayhem.

As the esteemed Princess of France, Kalusha Brutlag exudes elegance and poise. Brutlag sweeps across the stage, her chin lifted and her voice composed and soft, even as she mourns her father's death with restrained tears in her eyes. By her side is the ever-witty Rosaline, played by Gwen Smith. Batting her eyelashes and turning her head away, Smith's coy demeanor pairs well with her tendency to poke fun at her love, Berowne (Michael Woodard). As a duo, Woodard and Smith navigate their convoluted banter with ease.

Samuel Enriquez as the cockney Costard discovers the ideal balance between exploring Shakespeare's intentions for clown characters and delving into the emotional turmoil of Costard. Each time he attempts to stand while in custody, he is pushed down; Enriquez's comedic timing serves his purpose as a clown, but his visual frustration suggests deeper layers to Costard's emotional journey.

Scenic design by Sebastian Ledesma both creates a livable world and dabbles in the symbolic. Scrolls and loose pages adorn the set- love letters to lost lovers. Real plants grow in planters, a remnant of a set that was entirely designed for an outdoor location. Levels, statues, and strategically placed benches provide a plethora of nooks and crannies for lovers to bond.

Publicity by Betty Pham and Rory Dahl draws the eye with pleasing aesthetics and sweet videos. In addition, their use of stickers allows posters to delve much deeper into the lives of the public on water bottles, binders, and t-shirts. Their approach is effective and long-lived in the eye of the consumer.

Mater Dei's Love's Labour Lost provides a testament to love as humanity knows it. Love is coy. It is broken, and playful, and often it cannot grow for long. Perhaps the loss of those at the manor is truly what makes their love a story told through generations. Where there is love, there may always be loss.

Chloe Grubb
Santa Margarita Catholic
Submitted for publication to OC Facebook

Mater Dei's Charming "Love's Labour's Lost"
written by Chloe Grubb, a senior at Santa Margarita Catholic High School

With silly disguises, grandiose gestures, and outrageous love letters, Mater Dei's "Love's Labour's Lost" pokes fun at traditional courting rituals.

After swearing off romance to dedicate themselves to their studies, King Navarre and his court fall into old habits, dramatically declaring their love to visiting ladies after repressing themselves for so long.

Michael Woodard embodies a strong comedic presence as the wise, yet slightly hypocritical Berowne. Arms crossed and voice indignant, Berowne quickly chastises the court for breaking their oath only to tear up his own love letter later, blushing madly once his deceit is revealed.

Traipsing about with a toothy grin, Costard (Samuel Enriquez) presents a lovable contrast to the all-important court. Running around while performing errands erratically, Enriquez presents a lighthearted disposition with his quick quips and well-timed, confused facial reactions.

Dramatically swooning onstage, Don Armado (Erik Doty) epitomizes Shakespeare's satire of the court and their yearnings. As he gestures to thin air while declaring his love for a woman he barely knows, Doty exemplifies how outrageous courting rituals are to today's society with his whimsical gait and exaggerated ramblings.

The set design by Nick Quattrochi and Genevieve Vu exudes creativity and attention to detail. Minimalistic and functional, the design features a few centerpieces spread about the stage to portray a central courtyard while leaving ample space for transitions into indoor spaces with subtle changes in furniture. Furthermore, the team articulates central symbols of the plot seamlessly. One of these major symbols are the ornate, paper arches made of hearts and love letters. These surround the main level of the stage and again recall the driving factor to the comedy: love.

The costume team (Sophia Gonzalez and Megan Yglesias) excellently accents the director's chosen time period of the early 1910's. Employing an arrangement of sparkly, vintage-cut dresses, the team reveals the collective opulence of the visiting court of French ladies while also detailing the individual personalities of each woman. One of the standout designs for the ladies can be seen on the character Rosaline. Positioning her with a flowy, pink dress, the team reveals her complicated personality by highlighting her brash movement with the dress's frills while detailing her sophistication through its pink color.

Mater Dei's "Love's Labour's Lost" presents an endearing rendition of the Shakespeare classic with its purposeful design and unforgettable characters.

Jamie Auer
San Juan Hills
Submitted for publication to OC Facebook

No Love is Lost at Mater Dei
written by Jamie Auer, a senior at San Juan Hills High School

Conceptualizing Shakespeare in Pre-World War I Britain, Mater Dei's Love's Labour's Lost presents mischief, mishaps, and mayhem pursuing the romance of King Ferdinand's court.

The King of Navarre and his companions vow to stay away from women in an attempt to commit themselves to their studies. His plan quickly goes awry as they remember the impending arrival of the Princess of France, accompanied by her three eye-catching ladies. Shortly after they meet, the men subsequently fall for the women, breaking their oaths as hijinks ensue.

Kalusha Brutlag presents delicate and understated confidence in her portrayal of the Princess of France. From the subtly regal lilt of her voice to her stiff and proper body language, Brutlag embodies the demeanor of the Princess' royal status.

Juxtaposing the Princess, King Ferdinand (JD Houston) commands attention through his bold and booming voice and energetic stage presence.

Chemistry sparks between Michael Woodard and Gwen Smith, exchanging playful banter as the lovers Berowne and Rosaline. Smith's subtle wit and coy body language create a truthful and effective portrayal.

Embodying Shakespeare's classic clown archetype, Samuel Enriquez's Costard impresses with his spot-on comedic timing and unwavering cockney accent.

Utilizing simple pastel walls, a stone fountain, and sparse furniture, the minimalist set design was able to provide both an aesthetically pleasing background and the flexibility to display several different settings. Tying into the importance of letters in the play, the Scenic team (Sebastian Ledesma, Nick Quattrochi, and Genevieve Vu) attached layers of letters and parchment to the edges of the walls. This subtle detailing creates a deeper level of understanding of the play's atmosphere and storyline.

Costumes designed by Lindsay Aquino, Sophia Gonzalez, and Megan Yglesias properly fit the time period while staying true to each character's personality. Their light color scheme corresponds nicely with the pastel shades of the scenery and the romantic pink hues of the lighting (Dario Rimicci).

The gentle and light-hearted piano, composed by Kalusha Brutlag and Danika McKee, provides subtle underscoring of scene transitions matching the tone of the play. Brutlag and McKee's final composition effectively ends the production on a hopeful yet heartwrenching note.

Through the collaboration of the performers and technical elements, Mater Dei presents an original interpretation of a lesser-known Shakespearean comedy.