Viva El Shakespeare

Love’s Labour’s Lost is an early Shakepeare play seen as ‘ difficult’ because of its language and plot (‘It veers off into strange subplots, its dense wordplay is littered with Latin and elaborate puns, and that’s all before its famously unexpected, melancholy final scene arrives’ Time Out). Director Indiana Lown-Collins’ solution is to douse it in Flamenco and all things Spanish. With some reservations, the critics liked this idea (“Viva Espana’ WhatsOnStage), except for The Times (‘a crass dumbshow’).

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

4 stars ⭑⭑⭑⭑

Debbie Gilpin for BroadwayWorld described how ‘The confessions of love take the form of sonnets or other poetry in the text, which in this production are set to the melodies of popular music by hispanic artists; the tunes of “Despacito”, “Livin’ La Vida Loca” and “Hips Don’t Lie” are quickly recognisable, and allow the original writing to be presented in a way which chimes with a modern audience. This creative approach is the best of both worlds.’ She praised the cast: ‘Ned Costello delivers an hilarious turn as the not-quite-sure-of-himself King of Navarre, full of bluster but often looking to his men for reassurance in his actions (…) Norah Lopez Holden is without doubt the star of the show. Not only is her portrayal of the Princess of Spain pitch-perfect, balancing humour with authority and emotion, but she also takes charge of the dancing at every opportunity’.

Mark Lawson for The Guardian decided: ‘this production is, within its concept, generally a joy.’

Reviewing for WhatsOnStage, Aliya Al-Hussan pointed out: ‘With only two professional flamenco dancers in the company (Pablo Egea and Anita La Maltesa), the whole cast has been put through a dance boot camp. And it shows: the movement reflecting the ardent expressiveness and romantic tensions. Lown-Collins effectively combines the rhythms of the music and language together, as percussive handclaps often punctuate the repartee.’ She concluded: ‘This is a hugely promising Globe debut from Lown-Collins, brimming with imagination and really evoking the soul of flamenco through Shakespeare. Viva España indeed.’

3 stars ⭑⭑⭑

Dave Fargnoli of The Stage was reserved in his comments: ‘Stylish, sexy but strangely lacklustre, this shallow take on Shakespeare’s seldom-produced comedy feels overly laboured despite a vibrant design and the evident energy of its cast.’

The Telegraph‘s Dominic Cavendish was much more upbeat, calling it ‘a fun, warm, flamenco-soaked account of Love’s Labour’s Lost.’ He liked the way ‘The Iberian concept enlivens Shakespeare’s flimsy early romcom – in which the male court of Navarre rashly embarks on a scholastic retreat, swearing off women, only to be undone by visiting female royalty. The music and dance offset the wit and notoriously knotty word-play. The snag: scene-setting Spanish accents make some lines even more impenetrable.’

Julia Rank of LondonTheatre observed: ‘Lown-Collins’s production is steeped in dance, namely vivacious flamenco (choreographed by Carmen Igarza to music by Michael McMahon and Adrián Solá). The cast are all accomplished dancers, with the sequences led by flamenco professionals Pablo Egea and Anita La Maltesa (in blue and gold costumes matching the Globe’s pillars). If it is something of a gimmick, it is implemented with full commitment and performed with plenty of attack.’

Anya Ryan, popping up at Time Out, noted: ‘Traditionally, Love’s Labour’s Lost is one of Shakespeare’s trickiest plays to pull off, which is presumably why it hasn’t been staged that often (…) It veers off into strange subplots, its dense wordplay is littered with Latin and elaborate puns, and that’s all before its famously unexpected, melancholy final scene arrives and sends the audience home feeling blue. Lown-Collins’ production doesn’t really do much to combat these issues – the Latin is simply swapped for Spanish quips, and the ending is still the ending. But it’s rare that I’ve seen a Globe audience having so much fun.’

1 star ⭑

Kate Maltby, reviewing for The Times, didn’t have much fun. She called it ‘a crude cacophony of impenetrable Spanish accents, punctuated by groin thrusts and clumsy pratfalls, with nothing to say about love, learning or loss.’ She was disappointed: ‘There are melancholic themes to this play that could have been deftly explored in flamenco. Lopez Holden elevates anything she’s in, as does Philip Arditti, here playing Berowne, the king’s wittiest companion. But they are smothered under the worst kind of mummery. Shakespeare’s wordiest play becomes a crass dumbshow.‘

Critics’ average rating 3.1 ⭑

Love’s Labour’s Lost can be seen at Shakespeare’s Globe until 13 September 2026. Buy tickets directly from the theatre www.shakespearesglobe.com

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