The University Classic Players

in

Directed by Jeffrey Stegall

Scene Design by Kenn Brinson
Costume Design by Marius Pundys
Lighting Design by Richard Streeter
CAST OF CHARACTERS Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christine Lee
NAVARRE Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sharon Gerber
COURT Costume/Makeup/Hair Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Sandy
Ferdinand, King of Navarre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ron Pyle Costume Construction . . . . . . . . . . . . . . . Pam Adams, Barb Filipsic, Cynthia Long
Lords attending on the king: Joyce Parsons, Valli Rassi, Becky Sandy, Kimberly Schmidt

Berowne. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Radford Wig Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rose Marie Blumer

Longaville . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Bean Assistant Wig Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elizabeth Sowers
Dumaine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Benjamin Ascher Assistant Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Randall Snively

COUNTRY Assistant to the Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . Sandy Jaworski

Anthony Dull, a constable. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Bailes Props Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Vierow

Costard, a clown. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patrick McGary Set Refurbisher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jason Waggoner
Don Adriano de Armado, a fantastical Spaniard. . . . . . . . . . . . . . . . . . . Philip Eoute Technical Engineer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gayland Slick
Moth, his page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Timothy Hughes Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Max Miller
Jaquenetta, a country wench. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Allisha Sperr Audio Supervisor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Max Masters
Holofernes, a schoolmaster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Watson Script Clerk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dawn Schluetz
FRANCE
The Princess of France. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annette Pait Language, Learning and Love in Love’s Labour’s Lost
Ladies attending on the princess: Love’s Labour’s Lost was the first of Shakespeare’s comedies to appear in print,
Rosaline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sharon Murry and even today its vivacity and variety distinguish it from the playwright’s
dozen other ventures in the genre. Although it dates from the early period of
Maria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Morgan Graybill Shakespeare’s writing, it is a polished piece that has in recent decades proved
Katherine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alyssa McNeel highly effective in the theater.
Lords attending on the princess: For reader and theatergoer alike, the most striking quality of this lighthearted
Boyet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Michael Garrison comedy is its verbal ingenuity. Shakespeare creates his most elaborate
dialogue from a unique blend of rhyme, blank verse and prose. He assigns to
Marcade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Hudson the courtly characters of the main plot all the sophisticated word games
Cupid's Clan: Joshua Cancino, Kaleb Ericson, Aidan Field, Patrick Howard, known to educated Elizabethans. He involves these same lords and ladies in
complex combats of wit, yet he simultaneously satirizes extravagant language
John Davis McCarty, Noah Orr
by introducing the subplot’s pompous buffoons, who fail to understand their
own words.
PRODUCTION STAFF The plot of Love’s Labour’s Lost is just as high-spirited as its language. The
story revolves around a vow taken by four arrogant young men to give up the
Producer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darren Lawson company of women for three years in order to further their education.
Production Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rodney McCarty Shortly after they swear allegiance to this scheme, all four aspiring scholars
fall in love—creating the four aristocratic couples, headed by a king and a
Assistant Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ashley Love princess, who propel Shakespeare’s main plot. The subplot introduces a fifth
Dramaturg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janie McCauley couple—a vain Spaniard and a befuddled dairymaid—along with a company
of commoners who provide entertainment for the royal pair and their
attendants.
Shakespeare puts almost every comic device he knows to its full use in the
story: disguise, mistaken identity, oath-taking and oath-breaking,
eavesdropping, declarations of love which fall into the wrong hands, and
various forms of merriment conceived as courting rituals. The story line also
incorporates a masked ball and a village pageant, which effectively link the
main plot and subplot.
Love’s Labour’s Lost portrays love and marriage as an ideal, “a world-without-
end bargain” not to be entered into lightly. While the play suggests that lofty
learning and inflated language have no place in genuine love, it does not
judge the follies of young lovers harshly.
Shakespeare’s title reveals the outcome of the story: Love’s labor is lost, at
least for a time. In the end, when all pretensions have been exposed, the
women suspect that the men are unable to distinguish infatuation from true
love. Thus the men’s labors must take on a different character for a year and
a day so that their faithfulness can be tested.
Although the resolution to the plot does not include the celebration of
betrothal or marriage that audiences have come to expect at the close of a
Shakespearean comedy, the play’s ending is both satisfying and promising
concerning romantic love. Lines Berowne has spoken earlier in jest take on
new meaning in the play’s finale:
We number nothing that we spend for you;
Our duty is so rich, so infinite,
That we may do it still without accompt.
The audience has good reason to hope that the men, realizing the true worth
of the women they love, will willingly and well perform their new labors
of love.
—Janie McCauley

RODEHEAVER AUDITORIUM
May 6 and 7, 2009, 8 p.m.
May 8, 2009, 2 p.m.

Chimes will sound and lobby lights will flash three minutes before the end of intermission.
After the houselights are dimmed following intermission, no one will be readmitted to his seat.
Cameras and recording equipment are not permitted in the auditorium during any performance.
We request that signal watches and personal communication devices be turned off during the program.
Special thanks to Bill Douglas for use of "Elegy" from his Eternity's Sunrise CD
produced by Hearts of Space.

Tickets for this production sponsored by