A sun-drenched, bittersweet pop rock musical adaptation of Shakespeare’s early comedy, Love’s Labour’s Lost, has arrived at The Bridewell courtesy of Sedos — and it is an absolute burst of modern theatrical joy. With a book adapted by Alex Timbers and music and lyrics by Michael Friedman, this production reimagines the Bard’s tale with a contemporary twist, setting the action at a lively university college reunion and as the audience enter we are taken back into our own uni days with the whole ensemble partying. Directed by Owen Thomas James, the show blends Shakespearean wit with pop exuberance, creating a fresh, accessible gateway into one of his lesser performed works.
At its heart, Love’s Labour’s Lost is a story of four regal young men who swear an oath to abandon worldly pleasures — especially the company of women — in favour of study and contemplation. Naturally, their resolve is tested the moment the Princess of France and her three ladies in waiting arrive, sparking a cascade of flirtation, temptation, and comedic mischief. This modern adaptation leans into the absurdity of that premise, heightening the humour and making the narrative instantly relatable for a 21stcentury audience. The university reunion setting works beautifully: it’s playful, familiar, and allows the characters to feel like people we might genuinely know. Although a basic stage setting with only a door and a bar, it is the fast-paced action that sets the scene every time.
Sedos, a company renowned for its ambitious amateur productions, brings infectious energy to the stage. The cast looks as though they truly enjoyed creating this show together, and that camaraderie radiates throughout the performance. The musical numbers are vibrant, the choreography bold, and the staging cleverly designed to keep the pace brisk and the atmosphere upbeat.
The second half is particularly delightful, featuring a standout sequence where the men transform into a gloriously camp version of Take That — a moment that had the audience roaring with laughter. It’s cheeky, self aware, and exactly the kind of irreverent fun that makes this adaptation shine. Despite a few understandable first night nerves, the cast delivered a confident, joyful performance that won over the audience, especially the many Gen Z theatregoers who clearly appreciated the humour and modern styling.
The male performances were notably strong, with several standout portrayals. Alex Stephenson as Berowne anchors the narrative with charm and sincerity, acting as a confidante to the King and a witty observer of the unfolding chaos. Edward Horrocks as Dumaine impresses with a powerful voice and an equally striking costume. Arthur James Page brings a steady presence as the King, while Joby Blair as Longaville steals more than a few glances in his unforgettable Kylieesque gold mini shorts. And Alvaro Blecua as Don Armado provides irresistible eye candy and comedic flair.
The women’s performances, though occasionally overshadowed by the musical underscoring during spoken scenes, were still full of personality and vocal strength. Anna Colless as the Princess leads with poise, supported by Rachel Clements as Rosaline, Emma Miller as Maria, Izzi Richardson as Katherine, and Beth Dickson as Jaquenetta, all of whom deliver strong musical performances that elevate the production.
Musical director Maria Hallows leads a small but mighty band that drives the show with energy and precision, while choreographer Mia Mann injects the production with movement that feels youthful, bold, and perfectly attuned to the pop rock score. And a special mention must go to Adrian Lau, whose ongoing dedication to Sedos continues to champion the power and importance of amateur theatre in London.
This production is smart, sexy, gloriously silly, and full of heart, modern celebration of Shakespeare that feels both respectful and refreshingly irreverent. Sedos has once again proven that amateur theatre can be ambitious, polished, and deeply enjoyable. For lovers of Shakespeare, musicals, or simply a fun night out, Love’s Labour’s Lost at The Bridewell is absolutely worth seeing.
This amateur production is presented by Music Theatre International. All authorised performance materials are also supplied by MTI. www.mtishows.co.uk The show is rated 14+ for strong language and sexually suggestive content.
The show runs 15th-19th September, with matinees on Saturday.
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Reviewer: Penny Curran
On: Tuesday 15th September 2026
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