Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, III. 1.
Much Ado About Nothing, III. 1.
Scene i. Enter... Ursula.] Enter H. and two Gentlewomen, M. and Ursley. Q.
1: to] into Pope.
4: Ursula] Ursley Q.
9: like] like to Pope.
12: listen our propose] Q. listen our purpose F1. listen to our purpose F2 F3 F4.
14: warrant you] Q F1. warrant F2 F3 F4.
23: Enter B. behind.] Steevens (after line 23). Enter B. Q (after line 25) Ff. Enter B. running towards the arbour. Theobald. Enter B. stealing in behind. Collier MS.
29: even] e’en Pope.
33: false sweet] false-sweet S. Walker conj.
34: she is] she’s Pope.
42: wrestle] wrastle Q Ff.
45: as full as] Q F1 F2. as full, as F3 F4.
51: eyes] Q F1. eye F2 F3 F4.
58: she] sheele Q.
62: She would] She’d Pope.
63: antique] Q. anticke F1.
65: agate] agot Q Ff. aglet Theobald (Warburton).
72: not] for Rowe. nor Capell.
75: She would] she’d Pope.
air] an air Rowe (ed. i).
79: better death than] better death, then Q. better death, to F1. better death, to F2 F3 F4.
80: as die] as ’tis to die Pope.
89: swift] sweet Rowe.
91: Signior] om. Pope.
96: bearing, argument] F4. bearing argument Q F1 F2 F3.
for bearing, argument] forbearing argument Jackson conj.
101: every day] in a day Collier MS.
103: me to-morrow] me,—to-morrow! Anon. conj.
104: limed] Q. tane Ff. ta’en Rowe.
106: Cupid kills] Q F1 F2. Cupids kills F3. Cupid kill F4.
107: mine] my F4.
110: behind the back] but in the lack Collier MS.
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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