Review of ‘Love’s Labour’s Lost’ (2026, Shakespeare’s Globe): “Spanish-themed remake isn’t that different”

It’s not Shakespeare at his best. Not in content. Not in execution. I think we can all agree on that. Even the ones who have a soft spot for the thin plot and dense oetry of one of the Bard’s early comedies. This doesn’t mean absolute disapproval. And certainly, this version doesn’t deserve it. Ultimately, it has a pass. But let’s face it — it isn’t the funniest or the most enticing. And it’s not like any of this production’s contributions have bettered its odds. Sometimes, it’s even the right opposite.

Flamenco dance and cante jondo become the blood and glue of The Globe’s latest remake. The approach doesn’t seem too far-fetched. Not conceptually, that is. Even by purist standards, it makes sense to infuse the piece with a stereotypical (and I can’t stress the word enough) Spanish flavour — after all, Ferdinand is the King of Navarre. We may question the validity of his portrayal (maybe it’s time people realised that Spain comprises a little more land beyond Andalusia). Still, the piece’s whimsical tone allows for a few inaccuracies for the sake of a good laugh.

That being said, that’s not something the show accomplishes regularly. For the most part, it hinders the humour rather than enhancing it. And it’s all due to an often clumsy, strained style that reduces its efforts to Spanish profanity (which probably went over most of the audience’s heads), setting Shakespeare’s verses to Ricky Martin songs, and a bit of twerking. It doesn’t exhibit any wit or imaginativeness whatsoever. And in the end, it’s just a compendium of lazy, overused cliches that don’t land — not because they are offensive (they are not, and I wouldn’t mind anyway), but because they are boring and probably dried out even before their time.

The major plot tweak in this reinterpretation concerns the Princess, who is now Spanish as well, and whose dispute with Ferdinand is no longer over Aquitaine but Aragon. As such, she flaunts a peineta and twirls her hands à la Lola Flores as she makes her entrance. And later on, she even engages in bullfighting, perhaps the most embarrassing Iberian tradition.

That change isn’t sufficiently justified. It doesn’t make it funnier. And I can think of a few reasons why keeping her French would have resulted in a significantly more amusing performance — starting with the also hackneyed but still effective premise of cultural clash. Eventually, there’s an oversaturation of folkloric nods and musical segments that add nothing to the narrative or are entertaining enough. And the fact that Don Adriano de Armado’s forced accent makes him worthy of the “I know nothing” catchphrase doesn’t help either.

From a visual perspective, the production is nonetheless triumphant. The costumes are intricate and beautiful. And its uncomplicated staging is, however, efficient and eye-popping overall.

The same applies to the acting, which is admittedly some of the finest The Globe has offered this season. Among them, Phillip Labey and Nora Lopez Holden make two of the most memorable appearances as Longaville and the Princess, both demonstrating excellent command of the text and compelling presence. Furthermore, Joshua Hill and Katy Stephens earn another mention as Costard and Holofernes thanks to their natural tongue-in-cheekness and infectious stamina.

There is arte in this rendition, which is generally pulsating. But there’s also sloppiness. And although it doesn’t fully take over, it’s fairly unmissable in virtually every scene. Consequently, and much like its protagonists’ fate, Love’s Labour’s Lost doesn’t culminate in a happy marriage of old and new ideas, but a repetitive mixture of unoriginal elements with no comedic prowess. They might shout a few olés throughout the performance, but hardly any should be self-referential.

All pictures credit to Tristram Kenton.

Love’s Labour’s Lost plays at London’s Shakespeare’s Globe until 13 September. Tickets are available on the following link.

By Guillermo Nazara