Love's Labour's Lost
Who can keep their lofty oaths when faced with a beautiful princess?
Shakespeare’s classic adventure is reimagined with a contemporary translation, and comes to life with rollicking misadventures, mistaken identities, and live music.
Share your thoughts on the production and see what other people have to say.
Learn more in our
"Dig Deeper" section!
What surprised you about the play?
What was a moment in the production that stood out to you, and why?
Who's your favourite character, and why?
Love's Labour's Lost
by William Shakespeare
Translated and adapted by Edmund Stapleton
Timms Centre for the Arts
October 8-16, 2021
Adaptation by Edmund Stapleton
Preview October 7, 2021
Matinee Performance October 14, 2021
Evening performances start at 7:30pm,
Matinee performance starts at 12:30pm.
Studio Theatre will not be not offering subscriptions for the 2021 – 2022 season. Alternatively, we are offering FLEX passes. FLEX passes allow you to redeem three tickets at a discounted rate. These three tickets can be used to three different productions or all ticketed to a single production. They can be redeemed in person at the Timms Centre box office or by emailing firstname.lastname@example.org.
Single tickets and FLEX passes will be available for purchase at least two weeks prior to the first performance of each production. We are encouraging purchases and/or donations to be made online HERE.
Single ticket evening : Adult $25.00, Senior $22.00, & Student $12.00
Single ticket matinee : Adult $20.00, Senior $18.00 & Student $12.00
FLEX passes: Adult/Senior $60.00 & Student $30.00
Discounted ticket prices:
Preview: All Tickets $5.00
Half price Mondays: Adult $12.50, and Senior $11.00 & Student $6.00
This season the Timms Centre daytime box office hours will vary. On performance days, the box office will open one hour prior to curtain. At this time, in person box office sales will be cash only.
Our mandate is to keep everyone safe while in the Timms Centre for the Arts. We are following all current COVID-19 protocols as dictated by AHS and the University of Alberta. Please visit THIS LINK for all up to date protocols.
We are happy to answer questions or inquiries about tickets and our 2021-2022 season by email (email@example.com) or
I have a confession to make. I don’t know what a bodkin is. Not really. I think it might be a needle. Or maybe a knife. It must be something pointy, that much I’m sure of. And what about a fardel? Is it a physical object? And a heavy one at that? Or perhaps it means something more psychological like pain and suffering. And the contumely of a proud man? I’m completely lost.
Three words from perhaps the most famous speech in the English language, Shakespeare’s “To be or not to be,” that light my mind ablaze with questions. Of course, sitting at home I can glance down at the editor’s footnotes of whatever annotated edition of Hamlet I happen to have purchased from the used bookstore; a momentary hiccup in my reading experience, but at least I now know that contumely means someone’s insulting behaviour. I was pretty darn close about the meanings of bodkin and fardel. Go me! But what if I wasn’t reading this text? What if it was performed before me, as I sat in a darkened theatre, well over an hour into the performance filled with other words I hardly recognized, peppered with pronouns and verb tenses that no one uses anymore, and heard only once with no ability to pause the action and know for sure what is being said?
"A dramaturg is a member of the artistic team of a theatre production who is a specialist in the transformation of a dramatic script into a meaningful living performance."
(5) Michael Mark Chemers, Ghost Light: An Introductory Handbook for Dramaturgy, Southern Illinois University Press, 2010.
*The participation of these Artists is arranged by permission of Canadian Actors' Equity Association under the provisions of the Dance-Opera-Theatre Policy.
Director — Edmund Stapleton
Set Designer — FengYi Jiang
Costume Designer — FengYi Jiang
Lighting Designer — FengYi Jiang
Design Assistant — Lieke den Bakker
Sound Designer — Shella Novakovic-Apostol
Movement Coach — Léda Davies
Stage Manager — Charlotte Braid
Assistant Stage Manager — Amy Dass
Music Director — Dean Stockdale
Dance Captain — Shaughnessy O'Brien
Drag Consultant — Brett Dahl
Magic Consultant — James Hawksley
Abby McDougal— Rosaline/Jaquenetta
Ben Kuchera— King of Navarre/ Nathaniel
Chris Cook— Armado
Colin Bluekens— Hickory
Dean Stockdale— Longaville/Holofernes/ Music Director
Emily Thorne— Maria/Dull
Emma Ryan— Princess of France
Jordan Harvey— Berowne
Oscar Derkx— Boyet
Shaughnessy O’Brien— Moth
Department Chair/Artistic Director — Melanie Dreyer-Lude
Theatre Administrator — David Prestley
Box Office Coordinator — Candice Stollery
Executive/Administrative Assistant — Helen Baggaley
Marketing and Communications — Erik Einsiedel
Directing Advisor — Sandy Nicholls
Stage Management — John Raymond
Design Advisor — Guido Tondino
Sound Advisor — Matthew Skopyk
Production Manager — Gerry van Hezewyk
Technical Director — Larry Clark
Assistant Technical Director — Garret DeRede
Head of Wardrobe — Joanna Johnston
Head of Carpentry — Darrell Cooksey
Stage Carpenter — Garret DeRede
Stage Crew — Nichole Man
Head of Paint — Rebecca Cypher
Paint Crew — Faith Conner, Aryanna Slifka, Taylor Howell, Nyx McLeod,Ysen Wang, Amanda Yin, Juliana Stephens
Lighting Crew — Ian McLellan, Faith Conner, Aryanna Slifka, Taylor Howell, Nyx McLeod, Ysen Wang, Amanda Yin, Juliana Stephens
Properties Master — Jane Kline
Lighting Supervisor — Jeff Osterlin
Head of Lighting — Derek Miiller
Lighting Operator — Andraya Rodrigues
Sound Supervisor — Matthew Skopyk
Head of Sound — Dylan MacKay
Sound Operator — Dylan MacKay