I had the pleasure of attending Edinburgh University Shakespeare Company’s production of Love’s Labour’s Lost. Every element of the production worked together effectively, capturing the comedy of Shakespeare’s play with great success.
I particularly enjoyed the opening scene and the innovative use of the minimal set. The simple green furniture and wooden desk were used creatively by the cast, demonstrating how much can be achieved with relatively little. One element that particularly stood out was the use of sound throughout the performance. The music playing between scene changes not only provided some great comedic moments but also helped set the tone for the scenes that followed.
The costumes by Rhodd Friswell were relatively simple but effective in establishing character. Rosaline’s striking black and white outfit, for example, perfectly reflected her bold and confident personality. The lighting was also aesthetically pleasing, with pink and purple tones creating an atmosphere of excitement in certain scenes. Meanwhile, the warm glow of the hanging light bulbs beautifully illuminated the actors’ facial expressions and brought further attention to their costumes.
The acting was particularly impressive. Given the challenges of Shakespearean language, the cast delivered their lines with confidence, clarity and conviction, making the dialogue accessible even to those less familiar with Shakespeare. While every actor brought something special to their role, my standout performance of the evening was Amelie Berry. Whenever on stage, she commanded attention through her expressive facial movements, confident use of space and physicality.
The chemistry between the characters was another highlight. The four Lords ( Theodore Casimir Lambert, Max Kinsky, Amelie Berry and Orla Kinniburgh) worked brilliantly together, naturally drawing out the humour in their interactions. Equally, the four ladies (Madeleine Lawrence, Bea Lermite, Spencer Shaw, and Nina Ceretti) remained convincing and engaging, even in moments when the focus shifted elsewhere. The supporting comedic characters also added plenty of energy and humor to the production.
My favourite moment was the scene in which the four Lords discover they are all in love. Their use of the furniture to hide from one another was brilliantly executed and had the audience laughing throughout.
Overall, this was an impressive production and a real credit to everyone involved. A special congratulations to the director, Jess Kaijaks, for bringing such an entertaining performance to life.
Image by Non Steel provided to The Student as Press Material.
