Zack Handlen, Paul Fidalgo and Jonas Maines in Fenix Theatre’s “Love’s Labor’s Lost.” Photo by Noli French of French’s Fotos Photography

A crowd gathered near the footbridge in Deering Oaks earlier this month for Fenix Theatre’s 16th annual Shakespeare in the park. Embraced by a canopy of oaks, with a sun-kissed duck pond as a backdrop, the theater company delivered a spirited rendition of “Love’s Labor’s Lost” that was as brilliant and mirthful as the sunshine that adorned the early evening sky.

In true Fenix fashion, the opening “house” rules, reminders and donation pleas from actors Paul Fidalgo (Longaville/Boyet/Holofernes) and Jonas Maines (Dumaine/Don Armado) seamlessly devolved into the play, with the pair slipping into character without missing a beat. Only a green sign posted on a tree to the left – Navarre, population 350 – served to set the scene for the play’s reimagined location, a coastal Maine island.

The story is an age-old farcical take on love and romance that centers around the King of Navarre (Zack Handlen) and three lords: Longaville, Dumaine and Berowne (Luke Myers). The four make a resolute vow to devote all their time to academic studies, depriving themselves of food, sleep and women. High-jinks ensue when the Princess of France (Hannah Daly) arrives for business with her ladies-in-waiting Maria (Megan Cross), Rosaline (Kat Moraros) and Katherine (Sarabell Wrigley).

Sarabell Wrigley, Kat Moraros and Hannah Daly in “Love’s Labor’s Lost” at Deering Oaks park. Photo by Noli French of French’s Fotos Photography

The play contains 15 very colorful characters, played by eight actors and a “special guest” for the night. The run time is nearly two hours, with no intermission.

Directed by Katelyn Manfre, Fenix’s “Love’s Labor’s Lost” offers a modern take on the Shakespearean classic, one that’s designed to resonate with New England audiences today. Old English garb has been replaced with an old-school college preppy look for the guys and a dash of stereotypical Maine flair for the island locals, most notably captured in the plaid-clad, Maine-accented Costard, played by the expressive, highly entertaining Cross. The props are typically comical, adding to the nonstop, high-energy fun.

Despite the updated locale and costumes, the production remains true to Shakespeare’s verse and prose, and the cast delivers the lines with an ease and expressiveness that make the dialogue accessible to contemporary audiences. Myers, in particular, offers a delivery that’s fluent and insightful.

Plenty of comical characters keep the laughter flowing and the audience engrossed. Maines is a delight as the ballad-writing Spaniard Don Armado, who becomes drunk on love when he meets a local girl named Jaquenetta (Wrigley). Fidalgo and Moraros are equally delightful as sub-plot word-snobs Holofernes and Sir Nathaniel.

Of course, it wouldn’t be a Shakespearean comedy without mistaken identity, and Fenix adds to the absurdity with smile-inducing “disguises” that dial up the fun. There’s also a play within the play that culminates in mayhem involving popcorn and water bottles that the cast revels in executing.

In addition to portraying three characters, Fidalgo serves as musical director and songwriter for the production. “Leap Year” is a fitting conclusion to the play and beautifully showcases the vocal and instrumental talents of the cast.

“Love’s Labor’s Lost” is a fast-paced, witty production that offers an entertaining evening of laughs and inspired performances. Hats off to Fenix Theatre for continuing to offer quality theater that’s accessible to all.

April Boyle is a freelance writer from Casco. Contact her at: aprilhboyle@yahoo.com.
Twitter: @ahboyle