Shakespeare's Globe

Dates & tickets

* Limited availability
** Sold out

Later performances >>

Access performances

Audio-Described Icon

 Audio-Described  Performance
 Saturday 15 September, 7.45pm 

Relaxed Performance Icon Relaxed
Performance

Monday 10 September, 7.45pm

Captioned Performances Icon

 Captioned Performances
 
Tuesday 11 September, 7.45pm
Wednesday 12 September, 7.45pm
Thursday 13 September, 7.45pm
Friday 14 September,
7.45pm

Saturday 15 September, 2.15pm

Find out more about booking tickets for Access performances.

Join us for a week of assisted performances at the end of the run, which will include five captioned performances, a relaxed performance and an audio described performance.

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As You Like It As You Like It

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Love’s Labour’s Lost

  • 2018/Summer/LovesLaboursLost

23 August – 15 September 2018

Sam Wanamaker Playhouse

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TicketsFixed Position Standing: £10 | Seated: £20 – £48 | Premium Tickets: £62 Running timeTo be confirmed
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Creatives


Writer
William Shakespeare 

Director
Nick Bagnall

Designer
Katie Sykes

‘ They have been at a great feast of languages, and stolen the scraps.’
Act V, scene 1

Synopsis


Self-denial is in fashion at the court of Navarre where the young king and three of his courtiers solemnly forswear all pleasures in favour of serious study. But when the Princess of France and her entourage arrive, it isn’t long before the all-male ‘academe’ have broken every one of their self-imposed rules. Shakespeare’s boisterous send-up of all those who try to turn their back on life is a dazzling parade of every weapon in the youthful playwright’s arsenal, from excruciating cross-purposes and impersonations to drunkenness and bust-ups. It’s a banquet of language, groaning with puns, rhymes and grotesque coinages. 

Background


Director Nick Bagnall returns to Shakespeare’s Globe, having most recently directed our touring production of The Two Gentlemen of Verona.

‘In Love’s Labour’s Lost, Shakespeare gives us a fairy tale – ‘Once upon a time there was a king and he had three friends…’ The play is a discourse on art versus life. In order for stories to have value, they have to show us something that is real: such as a man falling in love and feeling confused about what love is and hating himself for feeling it. The melancholy within the play lies in the disparity between the story and the reality of life, with its unexpected turns and emotional mess.’

Nick Bagnall