Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, IV. 2.
Much Ado About Nothing, IV. 2.
Scene ii.] Capell. Scene iv. Pope.
A prison] Theobald.
Enter...] Enter the Constables, Borachio, and the Towne Clearke in gownes. Q Ff. See note (xxi).
1: Dog.] Capell. Keeper Q Ff. Town-Clerk. Rowe. See note (xxi).
2: Verg.] Capell. Cowley. Q F1 F2 F3. Cowly. F4. Dog. Rowe. See note (xxi).
a cushion] Q F1. cushion F2 F3 F4.
4: Dog.] Capell. Andrew. Q Ff. Verg. Rowe. See note (xxi).
16–19: Yea, sir...villains] Omitted in Ff, restored by Theobald.
20: go] grow Rowe (ed. 2).
25: ear: sir,] ear sir, Q F1 F2 F3. ear sir; F4.
30: constable] Town Clerk Rowe.
31: forth] Q Ff. om. Rowe.
32: eftest] easiest Rowe. deftest Theobald.
39: constable] Town Clerk Rowe.
44: for accusing] for the accusing Rowe (ed. 2).
47: by mass] Q. by th’ masse Ff.
60: Leonato’s] Leonatoes Q. Leonato Ff.
63, 64: Verg. Let them be in the hands— Con. Off, coxcomb!] Malone. Couley. Let them be in the hands of Coxcombe Q. Sex. Let...coxcombe Ff. Conr. Let...coxcomb Theobald. Con. Let us...Coxcomb Hanmer. Sexton. Let them be in hand. Conr. Off, Coxcomb! Warburton. Ver. Let them be in bands. Con. Off, coxcomb! Capell. Let them be in band— Steevens. Let them bind their hands Tyrwhitt conj. (withdrawn). Ver. Let them be in the hands of— Con. Coxcomb! Malone conj. Ver. Let them be bound. Con. Hands off, Coxcomb! Collier MS. See note (xxii).
66, 67: bind them. Thou] bind them; thou F3 F4. bind them thou Q F1 F2.
68: Con.] Rowe. Couley. Q F1 F2 F3. Cowley. F4.
76: is] Q. om. Ff.
78: losses] leases Collier MS. lawsuits Anon. (N. and Q.) conj.
80: [Exeunt.] Pope. [Exit. Q Ff.
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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