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Love's Labor's Lost

August 14 – September 18

Lowell Davies Festival Theatre

Photo Credits
(from left) Amy Blackman as Maria, Pascale Armand as Rosaline, Kevin Cahoon as Boyet, Kristen Connolly as Princess of France, and Talley Beth Gale as Katherine in William Shakespeare's Love's Labor's Lost, directed by Kathleen Marshall, running August 14 - September 18, 2016 at The Old Globe. Photo by Jim Cox.
Love's Labor's Lost


The King of Navarre and his three schoolmates vow to embrace their studies—and not embrace girls—for three whole years. But the instant they take that vow, the Princess of France arrives with her three beautiful attendants, and all bets are off. Shakespeare’s delightful romantic comedy is an unabashed celebration of innocence, idealism, and the sweet folly of young love. Tony Award winner Kathleen Marshall makes her Old Globe directing debut with this intoxicating classic under the San Diego stars.

Leading Production Sponsor

Production Sponsors
Diane and John Berol, Ann Davies, Jeanette Stevens, and Gillian and Tony Thornley

Running time: 2 hours, 50 minutes, including one intermission.


Cast and Creative



Kathleen Marshall (Director) Ms. Marshall’s Broadway credits include Living on Love, Nice Work If You Can Get It, Anything Goes, The Pajama Game, Wonderful Town, Grease, Little Shop of Horrors, Follies, Seussical, Kiss Me, Kate, 1776, and Swinging on a Star. Her Off Broadway and regional credits include Two Gentlemen of Verona (New York Shakespeare Festival), Saturday Night (Second Stage Theatre), My Paris (Long Wharf Theatre), Ever After (Paper Mill Playhouse), Diner (Signature Theatre Company), Living on Love (Williamstown Theatre Festival), and The Unsinkable Molly Brown (Denver Center Theatre Company). She was the Artistic Director of City Center Encores! for four seasons, where she directed and choreographed The Band Wagon, I’m Getting My Act Together and Taking It on the Road, Bells Are Ringing, Carnival, and Babes in Arms, among others. She also choreographed the musical sequences in the film My Week with Marilyn. Her television credits include Once Upon a Mattress, The Music Man (Emmy Award nomination), and “2 Broke Girls.” She has received three Tony Awards (out of nine nominations), three Drama Desk Awards, three Outer Critics Circle Awards, the Astaire Award, the George Abbott Award, the Smith College Medal (her alma mater), and the Pennsylvania Governor’s Award for the Arts, and she has been named a Distinguished Daughter of Pennsylvania. She is an Associate Artist of Roundabout Theatre Company and a member of the Executive Board of the Stage Directors and Choreographers Society. For Scott, Ella, and Nathaniel.

John Lee Beatty (Scenic Design) has designed the Globe productions of Cornelia, Dancing in the Dark, Dr. Seuss’ How the Grinch Stole Christmas!,and Redwood Curtain. His Broadway credits include The Nance, Disgraced, After Midnight, Good People, Venus in Fur, Other Desert Cities, Times Stands Still, A View From the Bridge, The Royal Family, The Color Purple, Dr. Seuss’ How the Grinch Stole Christmas!, Rabbit Hole, Doubt, Chicago, Proof, Footloose, The Last Night of Ballyhoo, A Delicate Balance, The Heiress, Anna Christie, Redwood Curtain, The Sisters Rosensweig, The Most Happy Fella, Penn and Teller, Burn This, Ain’t Misbehavin’, Talley’s Folly, Fifth of July,and Crimes of the Heart. His Off Broadway credits include The Whipping Man, Sylvia, The Substance of Fire, Lips Together, Teeth Apart, The Road to Mecca, A Life in the Theatre, The Miss Firecracker Contest, and many seasons at Manhattan Theatre Club, Circle Repertory Company, Lincoln Center Theater, and City Center Encores! He has also designed at major regional theatres and in television, restaurants, and circus. Mr. Beatty is the recipient of multiple Tony, Obie, Drama Desk, and Outer Critics Circle Awards and is a member of the Theatre Hall of Fame. He is a graduate of Brown University and Yale School of Drama.

Michael Krass (Costume Design) returns to the Globe, having previously designed The Mask of Moriarity, Overtime, Pilgrims, Full Gallop, Interior Decoration, Breaking Up, and The School for Husbands. His work on Broadway includes Noises Off (2016 Tony Award nomination), Living on Love directed by Kathleen Marshall, Machinal (2014 Tony nomination), The Lyons, The Constant Wife (2006 Tony nomination), A View from the Bridge, Twelve Angry Men, You’re a Good Man, Charlie Brown, and many more. His Off Broadway and regional work includes the new Hadestown by Anais Mitchell and other world premieres by Simon Stephens, Edward Albee, John Guare, Kenneth Lonergan, David Rabe, Nicky Silver, Christopher Durang, and Theresa Rebeck. He is the resident designer of Eliot Feld’s Ballet Tech. He has designed opera for the Mariinsky Theatre in Saint Petersburg, Russia, and film for Campbell Scott in Hamlet. Mr. Krasstaught for 18 years at the Playwrights Horizons Theater School at New York University and two years at Brown University in their graduate program. His upcoming work in New York includes The Cherry Orchard and Heisenberg for Broadway, The Light Years for The Debate Society, and a new play by Will Eno.

Jason Lyons (Lighting Design) designed Macbeth at the Globe earlier this summer. He designed the Broadway productions of Hand to God, On the Town, Bronx Bombers, Let It Be, Bring It On: The Musical, Rock of Ages (as well as the Vegas, Toronto, Australia, London, and national tours), The Threepenny Opera, Barefoot in the Park, and Good Vibrations. His other recent credits include Dry Powder, Barbecue, and Venice (The Public Theater), Smart People (Second Stage Theatre), Murder for Two and Heathers: The Musical (New World Stages), Hand to God (MCC Theater), The Commons of Pensacola (Manhattan Theatre Club), Nerds (Philadelphia Theatre Company), Hello, Dolly! (Goodspeed Musicals), All in the Timing (Primary Stages), Medieval Play (Signature Theatre Company), Uncle Vanya (Classic Stage Company), White Noise (Chicago), Broke-ology and Clay (Lincoln Center Theater), Happy Hour, Two by Pinter, and Scarcity (Atlantic Theater Company), and 10 years with The New Group including the productions The Good Mother, Marie and Bruce, Abigail’s Party, The Prime of Miss Jean Brodie, and Hurlyburly.

Sten Severson (Sound Design) is pleased to return to The Old Globe, where he designed Macbeth, The Comedy of Errors, Twelfth Night, The Two Gentlemen of Verona, and Othello. His Broadway credits include The Motherf**ker with the Hat and The Merchant of Venice, and his West End credits include Hair. He designed the Off Broadway productions of Venice, No Place to Go, The Total Bent, and The Controversy of Valladolid, as well as the Shakespeare in the Park productions of King Lear, the musical Love’s Labour’s Lost, Twelfth Night, As You Like It, Hair, and Hamlet. His regional credits include Family Album (Oregon Shakespeare Festival), Fallaci (Berkeley Repertory Theatre), Akeelah and the Bee (Children’s Theatre Company, Arena Stage), and Diary of a Wimpy Kid (Children’s Theatre Company). Mr. Severson is a partner in Acme Sound Partners, collectively responsible for over 30 Broadway shows since 2000, and he has taught in the sound design programs at New York University’s Tisch School for the Arts and the Yale School of Drama. He is currently the Sound Director at Children’s Theatre Company in Minneapolis.

Peter Golub (Original Music) previously composed for the Globe productions of Rosencrantz and Guildenstern are Dead, Richard III, and Dinner with Friends. His Broadway credits include The Country House, Time Stands Still, The Heiress, Hedda Gabler, and Come Back, Little Sheba. He has worked on numerous productions for the New York Shakespeare Festival, Mark Taper Forum, Geffen Playhouse, Playwrights Horizon, La MaMa, La Jolla Playhouse, and others. For 10 years he was composer-in-residence at Charles Ludlam’s legendary Ridiculous Theatrical Company. His collaborations with Moises Kaufman include Gross Indecency: The Three Trials of Oscar Wilde and The Laramie Project. Mr. Golub’s musical Amphigorey, with Edward Gorey, played at American Repertory Theater and Perry Street Theatre. His film scores include Frozen River, The Great Debaters, The Laramie Project (HBO), and Wordplay. He has also written many concert works and four ballets. Since 2000, Mr. Golub has been the director of the Sundance Institute Film Music Program. He teaches composition and film scoring at The UCLA Herb Alpert School of Music.

Taylor Peckham (Music Director) has previously worked on the Globe productions of Sense and Sensibility, The Winter’s Tale, Dr. Seuss’ How the Grinch Stole Christmas!, The Last Goodbye, Pygmalion, and Nobody Loves You. His other credits include the national tour of Jersey Boys and regional productions of Yoshimi Battles the Pink Robots (La Jolla Playhouse), Young Frankenstein (Moonlight Stage Productions), RESPECT: A Musical Celebration of Women (Herberger Theater Center, Phoenix), A Midsummer Night’s Dream, the Musical (Intrepid Shakespeare Company), Cinderella (African-American Shakespeare Company), Oz, West Side Story, The Music Man, An American Christmas, Festival of Christmas, miXtape, Guys and Dolls, and Joe vs The Volcano...the Musical (Lamb’s Players Theatre), Little Shop of Horrors (Cygnet Theatre Company), and Xanadu (New Conservatory Theatre Center, San Francisco).

Ursula Meyer (Voice and Text Coach) is very happy to be back doing Shakespeare at The Old Globe. She has studied voice with Cicely Berry, Patsy Rodenburg, Andrew Wade, and Arthur Lessac and is a designated Linklater teacher. She graduated with distinction from the Voice Studies Program at the Royal Central School of Speech and Drama in London under David Carey. Her regional credits include The Old Globe, Guthrie Theater, Milwaukee Repertory Theater, A Contemporary Theatre, Seattle Repertory Theatre, Shakespeare Theatre Company, South Coast Repertory, La Jolla Playhouse, and the Idaho, Santa Cruz, and Utah Shakespeare Festivals, as well as 15 seasons with Oregon Shakespeare Festival and four years at Yale Repertory Theatre, where she also taught. Ms. Meyer holds an M.F.A. from the University of Washington and is in her 22nd year teaching at UC San Diego. She is also on the board of the Voice and Speech Trainers Association and is a recipient of UC San Diego’s Distinguished Teacher of the Year Award.

Jim Carnahan, CSA (Casting) has cast the Globe’s productions of Macbeth, Twelfth Night, and The Comedy of Errors. He is the Director of Artistic Development at Roundabout Theatre Company, where his credits include Long Day’s Journey Into Night, She Loves Me, Noises Off, Thérèse Raquin, Old Times, On the Twentieth Century, The Real Thing, Cabaret, Violet, Machinal, The Winslow Boy, The Mystery of Edwin Drood, Cyrano de Bergerac, Harvey, Anything Goes, The Importance of Being Earnest, Mrs. Warren’s Profession, Sunday in the Park with George, The Pajama Game, 12 Angry Men, Assassins, Nine, and Big River. His other Broadway credits include Fun Home, Constellations, The River, You Can’t Take It With You, Rocky, The Glass Menagerie, Once, Matilda, Peter and the Starcatcher, The Mountaintop, On a Clear Day You Can See Forever, Jerusalem, Arcadia, The Scottsboro Boys, American Idiot, A Behanding in Spokane, The Seagull, Boeing-Boeing, Spring Awakening, The Pillowman, Gypsy, and True West. His film credits include A Home at the End of the World and Flicka, and his television credits include “Glee” (Emmy Award nomination).

Pamela Salling (Production Stage Manager) is a New York-based stage manager for theatre, dance, and opera. Select credits include The Apple Family: Scenes from Life in the Country (That Hopey Changey Thing, Sweet and Sad, Sorry, and Regular Singing), Othello, Into the Woods, The Agony and the Ecstasy of Steve Jobs, Knickerbocker, and Neighbors (The Public Theater), De Materie and tears become...streams become... (Park Avenue Armory), Blood Knot (Signature Theatre Company), The Music Teacher (The New Group), A Family for All Occasions, Thinner Than Water, and Massacre (Sing to Your Children) (Labyrinth Theater Company), and Garden of Earthly Delights (Martha Clarke). Ms. Salling has also toured with companies such as Susan Marshall & Company and Young Jean Lee’s Theater Company, and she works extensively with director Peter Sellars around the world, including his 2016 Ojai Music Festival productions of Kopernikus and Josephine Baker: A Portrait, as well as past productions of St. Matthew Passion, Desdemona, The Gospel According to the Other Mary, Othello, The Winds of Destiny, A Flowering Tree, and La Passion de Simone.

Jess Slocum (Assistant Stage Manager) previously worked at The Old Globe on tokyo fish story, The Metromaniacs, In Your Arms, Twelfth Night, Buyer & Cellar, Bright Star, Othello, Water by the Spoonful, The Winter’s Tale, A Doll’s House, Pygmalion, A Room with a View, Richard O’Brien’s The Rocky Horror Show, the 2011-2013 Shakespeare Festivals, Rafta, Rafta…, Robin and the 7 Hoods, Alive and Well, Sammy, Cornelia, Since Africa, Dr. Seuss’ How the Grinch Stole Christmas!,and The Glass Menagerie. Her Broadway credits include In the Heights. Her regional credits include Indecent, Side Show, Ruined, The Third Story, Memphis,and Most Wanted (La Jolla Playhouse) and Post Office (Center Theatre Group). Her San Diego credits include Mo`olelo Performing Arts Company, North Coast Repertory Theatre, and Lamb’s Players Theatre. She is a graduate of Vanderbilt University. Proud member of Actors’ Equity.


Post-Show Forums

Discuss the play members of the cast following the performance. Post-Show Forums following evening performances only. FREE

Tuesday, August 23

Wednesday, August 24

Tuesday, August 30


Insight Seminars

A seminar series featuring a panel selected from the artistic company of the current show. FREE

Tuesday, August 16 at 6:30p.m.


Shakespeare in the Garden

Tuesday, August 23 at 7:00p.m.

Wednesday, August 24 at 7:00p.m.

Thursday, August 25 at 7:00p.m.

Friday, August 26 at 7:00p.m.

Saturday, August 27 at 7:00p.m.



"Beautiful! A production that balances the play's sheer delight in language with hilarity." —The San Diego Union-Tribune

"A Winner! Kathleen Marshall choreographs the comic action with lustrous panache." —Los Angeles Times

"A beautiful, emotionally rich new production." —The San Diego Union-Tribune