Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
MAAN V. 3
000 Scene III. A church.
MAAN V. 3 Enter Don Pedro, Claudio, and three or four with tapers.
Claud. Is this the monument of Leonato?
002 A Lord. It is, my lord.
Claud.[Reading out of a scroll]
003 Done to death by slanderous tongues
Was the Hero that here lies:
005 Death, in guerdon of her wrongs,
Gives her fame which never dies.
So the life that died with shame
Lives in death with glorious fame.
009 Hang thou there upon the tomb,
010 Praising her when I am dumb.
Now, music, sound, and sing your solemn hymn.
Song.
Pardon, goddess of the night,
013 Those that slew thy virgin knight;
For the which, with songs of woe,
015 Round about her tomb they go.
Midnight, assist our moan;
Help us to sigh and groan,
Heavily, heavily:
Graves, yawn, and yield your dead,
020 Till death be uttered,
021 Heavily, heavily.
022 Claud. Now, unto thy bones good night!
023 Yearly will I do this rite.
D. Pedro. Good morrow, masters; put your torches out:
025 The wolves have prey’d; and look, the gentle day,
Before the wheels of Phœbus, round about
Dapples the drowsy east with spots of grey.
Thanks to you all, and leave us: fare you well.
029 Claud. Good morrow, masters: each his several way.
030 D. Pedro. Come, let us hence, and put on other weeds;
And then to Leonato’s we will go.
032 Claud. And Hymen now with luckier issue speed’s
033 Than this for whom we render’d up this woe. [Exeunt.
About
Temptations and infatuations abound in this sparklingly linguistic early comedy from Shakespeare, where cerebral pursuits and ascetic intentions prove no match for the nobles of Navarre’s royal court when the Princess of France and her attendants arrive on a political mission and find themselves enmeshed in a mission of far more amorous ambitions. An entertaining battle of sexes, wits and classes ensues as the great master of the English language concocts a roundelay of semantic gamesmanship, mixing high lyricism, bawdy wordplay and a fair degree of scholarly satire together with elastic dexterity to poke fun at masculine romantic ideations and female objectification, the ambiguities of communication, as well as the ignorance of the seemingly cultured societal sets. And then, in a stunning tonal turn mere moments before the play’s conclusion that manages to thwart all our expectations, the young Shakespeare grounds this heretofore exuberant work in a startlingly mature realism that is far removed from his most popular comedies, lending Love’s Labour’s Lost both a worldliness and honesty that marks it as a work of astonishing complexity.
And to perform it all? Three men (Craig Franklin, Tomas Peter, and Brad “Hamlet” Filippone) and three women (Sonia, Jenn Broda, and Kelly S. Taylor), determined to give you a performance of Shakespeare's work that you will never forget. You thought you knew your Shakespeare? Well, think again! - Summary by Tomas Peter
Cast list: Craig Franklin: Narrator; Costard; Dumain; Maria & Marcade. Brad “Hamlet” Filippone: Biron; Holofernes & French Lord. Jenn Broda: The Princess of France; Dull & Ver (the Spring). Kelly S. Taylor: Ferdinand, King of Navarre; Katharine; Jaquenetta & Forester. Sonia: Rosaline; Moth; Longaville & Hiems (the Winter). Tomas Peter: Don Adriano de Armado; Boyet & Sir Nathaniel.
Other versions of Love's Labour's Lost (version 2)
- Love's Labour's Lost — narrated by multiple narrators · English
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