Picture this: a blast from Shakespeare's past colliding head-on with the glittery, groovy vibes of the 1970s disco era – that's the electrifying premise of the upcoming production at Festival Playhouse that's bound to redefine how we experience classic theater. Get ready to dive into a world where timeless humor meets modern flair, and discover why this show might just become your new favorite way to enjoy the Bard.
But here's where it gets controversial... Jack Dewey, a rising sophomore at Kalamazoo College, is stepping into the spotlight with a wardrobe full of eye-catching outfits, including a dazzling bright blue velvet suit, as he portrays a far-from-ordinary King Ferdinand of Navarre in the Shakespearean comedy Love's Labour's Lost. Running from November 6 through November 9, this adaptation takes the playwright's clever tale of romance, promises, and heartfelt mishaps and transforms it into a lively 1970s extravaganza brimming with tunes, choreography, and nostalgic energy.
Dewey captures the essence perfectly, describing the scene as 'packed with strobe lights, choreographed routines, and glittering attire – it's all vibrant, noisy, and bursting with life.' He compares it to something more akin to a musical like Mamma Mia! than a traditional Shakespeare performance. And this is the part most people miss: for beginners, Love's Labour's Lost originally penned in the late 1590s, follows a group of aristocratic men who vow to renounce romance and distractions to dedicate themselves to scholarly pursuits – only for their plans to unravel when a princess and her entourage show up. In this fresh take, Dewey and his onstage companions embody the confident, carefree spirit of frat-house buddies, infused with playful exchanges, bold attitudes, and some regrettable choices.
'I've never taken on a character who's such a complete cad before,' Dewey shares with a chuckle. 'Usually, I'm cast as the dreamy idealist or the melancholic hero. Now, I get to channel a slick-talking, comb-wielding charmer with terrible pickup lines – it's liberating!' The choice to transport the story to the 1970s, according to Dewey, stems from the directors' aim to embody a decade known for breaking free and embracing personal identity. Think glittering costumes that scream individuality, aligning seamlessly with the play's comedic undertones and empowering messages about gender dynamics.
Hailing from Minneapolis, Minnesota, Dewey stumbled upon Kalamazoo College through targeted outreach emails. A single visit, boosted by family ties in southwestern Michigan, sealed the deal. 'The moment I arrived, I knew this was the campus vibe I craved for my college years,' he recalls. Since joining the K community, he's graced stages in productions like Eurydice and Little Shop of Horrors. Yet, this role in Love's Labour's Lost stands out as his most physically intense challenge. 'We're sprinting, sliding, and leaping all while delivering lines in old-school Shakespearean lingo,' he explains. 'It's chaotic, but our ensemble turns it into pure, joyous mayhem.'
The talented group includes newcomers like Morgan Smith taking on the Princess of France, Jey Trebley as Berowne, Sam Pattison as Dumaine, Dewen Luo-Li as Rosaline, Laurel Stowers as Maria, and Abram Haynes as Longaville. Dewey praises their infectious enthusiasm, labeling rehearsals as 'the most delightful kind of controlled frenzy.' 'Half the troupe are freshman, and they're boisterous, extroverted, and hilarious,' he notes. 'It's inspiring to watch the newcomers driving the momentum.' He also acknowledges the guidance from seasoned performers such as Bernice Mike '26 as Katherine, Owen Ellis '27 as Costard, and Max Wright '26 as Boyet, whose expertise elevates the whole experience. Even with Shakespeare's intricate vocabulary posing hurdles, Dewey emphasizes how the contemporary twist keeps the narrative engaging and side-splittingly funny. 'I might not catch every term, but I grasp my character's motivations, which helps bridge the gap to make it relatable for everyone,' he says.
For those wary of diving into Shakespeare, Dewey urges them to reconsider. 'If you're curious about the Bard but hesitant, this is the ideal entry point,' he insists. 'You'll get an hour of wild hilarity, laughs, and vivid spectacle.'
Love's Labour's Lost will perform at 7:30 p.m. on Thursday, November 6 through Saturday, November 8, and at 2 p.m. on Sunday, November 9. Secure your seats via the Festival Playhouse box office site at https://festivalplayhouse.ludus.com/index.php or by calling 269.337.7333. For further details on the show, reach out to Theatre Company Manager Kirsten Sluyter at Kirsten.Sluyter@kzoo.edu.
Now, here's a thought-provoking twist: While modernizing a masterpiece like this opens it up to wider audiences, does it risk diluting the original's poetic depth? Or could it be argued that Shakespeare himself would approve of such playful reinventions to keep his work alive in new eras? What do you think? Should we adapt classics to fit contemporary tastes, or honor them exactly as written? Share your opinions in the comments – I'd love to hear your take!
