REVIEW: Shake and Bake’s ‘Love’s Labour’s Lost’
Photo: Charles Osborne stars in Shake and Bake’s production of William Shakespeare’s Love’s Labour’s Lost. Photo courtesy of Chad Batka / Provided by Matt Ross PR with permission.
NEW YORK — The fun and frivolity that audience members experience at the Shake and Bake production of William Shakespeare’s Love’s Labour’s Lost has mostly to do with the talented ensemble of actors who work tirelessly to pull off the Bard’s famous comedy.
Though, the wine doesn’t hurt.
Shake and Bake is a new idea that will hopefully become a regular staple on the New York City theatrical scene. Situated on the first floor of a refurbished building across from the Whitney Museum in Downtown Manhattan, the theater for this fast-paced revival is decked out with comfy couches, chairs and artfully hung curtains that build a perimeter around the acting space. The environs are posh, as if theatergoers have stepped into a renovated apartment building in the Meatpacking District … oh, wait.
Adding to the enjoyment, audience members are met with an eight-course tasting menu during the performance. Each of the meals, delightfully small in size and yet packing a culinary punch, align with the action of the play. When one character sucks up Cheeto cheese as if it were an illicit drug, diners receive heavenly mac and cheese dusted with Cheetos.
Shakespeare’s comedy deals with competing teams of prospective lovers. The King Ferdinand of Navarre (Darren Ritchie, who also doubles on guitar) joins with his mates, Berowne (Matthew Goodrich) and Longaville (Oge Agulué), to swear off women in their private lives. They also institute restrictions on their diet and sleeping habits.
On the other side of the relationship war is the Princess of France (Victoria Rae Sook, co-creator of Shake and Bake), with her friends, Maria (Rami Margron, who also portrays Costard) and Rosaline (Mary Glen Fredrick).
Playing the roles of Don Armado de Adriano and Boyet, and stealing every scene he appears in, is Charles Osborne, a comedic actor of the highest caliber. Rounding out the ensemble is Joe Ventricelli as the Chef, though Alan Trinca understudied for him at this reviewer’s performance.
Some of the plot from the original is cut, and characters are streamlined, all with the goal to have the plot run less than two hours. A recent performance clocked in at 95 minutes with intermission, so the Bard is being appreciated, although not in a purist fashion.
The staging by director Dan Swern, co-creator of Shake and Bake, is inventive and creative. He uses the space to its fullest capacity, having the actors wear chef costumes and centering their action around serving tables in the middle of the stage. Strategically located curtains and drop boxes on the ceiling help with props and comedic entrances and exits.
Interrupting Shakespeare’s language is a number of song-and-dance sequences, with the music pulled from the pop charts over the last couple decades. A George Michael tune makes an appearance; ditto for a cover version of Lorde’s “Royals.” The cast, who have an endless amount of effusive talent, buy into the reveling and merrymaking, dedicating themselves to the show and the audience’s entertainment. With spots for less than 100 patrons, this is immersive, intimate theater, and the fact that the actors are willing to play game is a wonderful facet.
The food, by chef David Goldman, himself a co-creator of Shake and Bake, is a delectable highlight. After sitting on the couches and chairs, audience members receive their first few courses right away: smoked salmon with dill whipped cream cheese, a chef’s choice canapé and pickled seasonal vegetables (carrots and string beans in a mason jar on the table).
Other courses proved eclectic and scrumptious: field greens with balsamic quinoa, smokey brisket taco with vinegar slaw and that Cheeto-dusted mac and cheese. Some pink lemonade soda, a shot of roasted beet gazpacho and buttermilk panna cotta finish off the selections. Alcohol accompanies several of the dishes (red wine, white wine, Jägermeister shot).
Dedicated Shakespeare needs to be revived every single season, both on Broadway and off. However, it’s great fun when newcomers to the scene bring their unique ideas to these celebrated texts. Coupling the Bard’s words with a tasting menu is a genius idea, and kudos to the company for exceeding both the thespian and culinary expectations.
What’s next? Perhaps a picnic party for A Midsummer Night’s Dream?
By John Soltes / Publisher / John@HollywoodSoapbox.com
Shake and Bake’s Love’s Labour’s Lost continues through Sunday, Jan. 6 at 94 Gansevoort St. in Manhattan. Click here for more information and tickets. Gluten-free, vegetarian and vegan options are available for the tasting menu.
