Love's Labour's Lost (version 2) - Free Audiobook
1/6Dramatis Personae
Love's Labour's Lost (version 2)
Much Ado About Nothing, V. 4.
Much Ado About Nothing, V. 4.
Scene iv.] Scene ix. Pope.
...Margaret] om. Reed (1793).
7: sort] sorts Q.
10: you] Q F1. yong F2. young F3 F4.
12: [Exeunt Ladies.] Q Ff (after line 16). Capell (after line 17). Dyce (after line 14).
23: Leon.] Q F1. Old. F2 F3 F4. Ant. Rowe.
30: In the] Q F1. I’th F2 F3 F4.
state] estate Johnson.
31: friar,] om. F3 F4.
33: Here...Claudio] Q. omitted in Ff.
34: Scene x. Pope.
and...others] and...other. Q. with attendants. Ff.
45: all Europa] Q F1 F2. so all Europe F3 F4. all our Europe Steevens conj.
50: And got] Q F3 F4. A got F1 F2.
52: Scene xi. Pope.
comes] Q Ff. come Rowe.
Re-enter...] Enter brother, Hero, Beatrice, Margaret, Ursula. Q Ff.
54: This line is given to Leonato in Q Ff, to Antonio first by Theobald.
58: hand: before......friar,] Pope. hand before...friar, Q Ff.
60: [Unmasking.] Rowe.
63: defiled] Q. om. Ff. belied Collier MS.
69: you] thee F3 F4.
74: Why, no] Why F3 F4. No Steevens.
75, 76: Printed as Prose in Ff.
76: they swore] Q Ff. for they did swear Hanmer. for they swore Capell.
77: Troth] om. Steevens.
79: did swear] swore Collier MS.
80: that] Q. om. Ff.
81: that] Q. om. Ff.
82: such] Q. om. Ff.
94: not] yet Theobald, now Hanmer.
96: I was told] Q F1 F2 as I told F3 F4 as I was told Rowe.
97: Given to Leonato in Q Ff, corrected by Theobald.
[Kissing her.] Theobald.
99: wit-crackers] witte-crackers Q F1 F2. witty-crackers F3 F4.
102: a’] a Q Ff, Collier. he Rowe.
103: purpose] propose Reed (1803).
105: what] Q F3 F4. om. F1 F2.
112: do] no F4.
116: afterward] Q F2. afterwards F2 F3 F4.
117: play,] Pope. play Q Ff.
118: there is no] No S. Walker conj., making a verse.
122: thee] the, F4.
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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