‘Love’s Labor’s Lost’ just wants to have fun


The Department of Theater and Dance’s production of William Shakespeare’s “Love’s Labor’s Lost” premiered last night on Wednesday, June 27, 2015.

This production has proven to be quite different from previous ones, since it will run outdoors in Jackson’s Garden for a Shakespeare in the Park event.

For this stage adaptation of “Love’s Labor’s Lost,” be prepared to witness a fusion between the 1580s and the 1980s.

Professor Brittney Belz, costume designer, has combined Elizabethan style silhouettes with 1980s colors, styles and trends.

These costumes complement the 1980s soundtrack perfectly.

Cyndi Lauper would definitely approve of the show’s aesthetics, and might have worn some costume pieces when her father yelled at her about her lack of a life.

Think corsets, hoop skirts, cod pieces and doublets, but with neon hues, zebra trim, acid-wash jeans and rhinestones.

The production is a colorful extravanganza with every pattern and texture imaginable, each character as bright and gaudy as the next.

Belz has used an enormous spectrum of colors for the production, while incorporating Elizabethan style elements into the costumes.

The story follows four sets of lovers, all of who have been costumed strategically to visually tie them to their counterparts.

While the men do not ‘match’ their corresponding women, each pair of lovers does have its own color palette.

The costumes of King Ferdinand of Navarre and the Princess of France use a blue color scheme.

King Ferdinand, played by Sarang Sharma ’15, steps on stage in a sheer shirt of blue, green and black patterned chiffon with a blue velvet doublet, fitted distressed jeans and boots. To complement his ensemble, the Princess, played by Rose Dumbrigue ’16, wears a voluminous skirt of aqua satin and matching boned bodice.

The men’s costumes and ladies’ costumes are variations on those of the King and Princess. All of the men’s costumes featured brightly printed shirts, fitted jeans and traditional doublets.

The Princess and Lady Rosaline, Lady Katherine and Lady Maria all wear corsets, hoop skirts, boned bodices that feature Elizabethan shapes with 1980s colors and textures.

The costumes of Lord Biron, played by Dan Pallies ’15, and Lady Rosaline, portrayed by Lizzy Magas ’15, have a green theme. Their costumes contain every pigment of the color, from neon to emerald and everything in between.

Similarly, Lord Dumaine, played by Matt Mintz ’18 and Lady Katherine, played by Meghan Wells ’18, are dressed in reds and pinks, including shades ranging from muted burgundy to bright fuschia.

Lastly, Lord Longaville, played by Alex Regan ’16 and Lady Maria, played by Shauntai Quinlon ’17, appear in vibrant purple tones.

Don Armado, portrayed by Brandon Rosales ’17, a caricatured Spaniard, appears on stage in flaboyant pair of pants, doublet, feathered hat, green cowboy boots, enormous cod piece and single pearl earring. His garments are embellished with rosettes, medals, tassels and chains. The drama of Armado’s costume enhances the drama with which Rosales plays the part.

Agnes Park ’15 portrays Boyet, a royal attendant to the Princess. Her more traditional costume includes a white shirt, black jacket, fitted pants and textured black boots.

Holofernia, played by Lauren Resnikoff ’15, and Sir Nathaniel, played by Cyrus Shahgholi ’18, are the play’s two scholars. They are certainly dressed the part in academic robes. Holofernia’s academic robe is paired with a traditional Elizabethan ruff and flat cap, while Sir Nathaniel wears trousers and a doublet-style top.

Constable Dull, portrayed by Prithvi Batra’17, has one of the more understated costumes, including looser pants, doublet-style top, tall black hat and snake-skin print shoes.

Jaquenetta, played by Lucy Miller ’16. dons every possible shade of pink.

The flirtatacious Jaquenetta wears a striped pink bodice, white chemise and fitted skirt complete with voluminous poofs at each hip. She completes the look with neon thigh high stocking.

Costard, the play’s fool, is portrayed by Dave Masterson ’14. Costard’s costume, consisting of multicolored neon hammer pants, pastel orange shirt, short doublet-style top and embellished cod piece, further contributes his comedic purpose.

Moth, played by Ariella Honig ’17, is another comedic character. Known as Armado’s page, Moth wears an elaborate costume, including striped chemise, bodice with bright green accents and brown skirt with bumroll. Moth’s costume is further enhanced by mismatched neon socks with neon orange accented sneakers, voluminous bonnet and bright green bloomers.

Many of the costumes are supplemented with mullets, neon accessories, sky-high ponytails, matching eye shadows, colorful jewelry, bright lipsticks and excessive amounts of hairspray. All looking like something out of a Madonna music video.

The natural light and colorful atmosphere of Jackson’s Garden serves as the perfect backdrop for the clashing patterns and textures seen in the production.

The costumes make the production aesthetically distinct from other stage adaptations of the play, while also visually intensifying the show’s 16 characters.

Without a doubt, the costumes of “Love’s Labor’s Lost” just want to have fun.



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