photo by Tim Fuller

In this early Shakespeare comedy, its the ladies who have the last word. They are, from left, Chelsea Bowdren, Bryn Booth, Carley Elizabeth Preston and Sophie Gibson-Rush.

Of all William Shakespeare's comedies, “Love's Labor's Lost” must have the most playful language. Not just in its unexpected puns and sly synonyms but also in the rhythms of each actor's conversations.

The Rogue Theatre's new production of this merriment, directed by Joseph McGrath, vibrates to the rolling beat of words spaced out and shifted in their pronunciation, often followed by chopped phrases that fill with trills of exhilaration.

If you could add disco lighting and a thumping bass beat it would fit right in.

This being one of the Bard's early comedies, he is exploring the possibilities of language by expanding and elaborating on intricate twists of literary meaning, a distinction of style that would become one of his trademarks. Such as saying, for example, “Let love be a force, but don't force my love...” (not a quote but my own homespun example).

According to program notes, the play is set “In the year 1586 or perhaps 1587” when Ferdinand, King of Navarre (Aaron Shand) and three friends meet up with the Princess of France (Carly Elizabeth Preston) and three of her elegant companions.

Another friend of the court is Don Armado (Matt Walley) who gets a bright red costume and several animated speeches adding colorful zip to the plot.

Among those three princely pals of Ferdinand, it is Berowne (Ryan Parker Knox) who is the most dramatic.

Seeking to purify the quality of their lives, the King, Berowne and their courtly buddies Longaville (Jeffrey Baden) and Dumaine (Robert Anthony Peters) swear to devote the next three years of their lives to academic study – and to eschew all contact with any females of any sort.

What could possibly go wrong with this plan?

Quicker than you could say “Besmirch me not!” the Princess of France appears on the scene with her lovely entourage of Rosaline (Bryn Booth), Maria (Chelsea Bowdren) and Katherine (Sophie Gibson-Rush).
Suddenly these idealistic men of the King's court are having hilarious second thoughts about their oath of purity and – of course – quickly start hatching some desperate schemes.

Love letters are passed around. The ladies, getting into their own spirit of fun, hope to confuse the men by donning various disguises.

Shakespeare, always eager to stir the pot more generously, also adds a play within the play that involves humorous swords and shields.

Not to be outdone, the men disguise themselves as macho Russian dancers, performing outrageous steps choreographed by the Rogue's own Claire Hancock.

However, the play's ending does seem to imply more of a warning than a celebration. These women have the last word saying, if the men are sincere about their promises, they will come back same time next year.

“Love's Labor's Lost” runs through May 5 with performances Thursdays through Saturdays at 7:30 p.m., matinees Saturdays and Sundays at 2 p.m., at The Rogue Theatre, 300 E. University Blvd. Tickets are $47 general admission; student rush tickets, when available, are $15 with student ID. The running time is two hours 25 minutes including a 10-minute intermission.

For details and reservations, www.theroguetheatre.org, or phone 520-551-2053.

photo by The Gawnes

The Angels are (from left) Janee Page, Heather Stricker and Erin  Todd.

Over at the Gaslight Theatre, before the show even begins, you just know “Harlie's Angels” is set in the 1970s...because everything that isn't yellow or orange is colored hot pink.

Keeping up with the noisy colors is all that music of the period, filled with sweeping choruses made for disco dancing, choc-a-bloc with the goofy mannerisms that were so intrinsic to the elaborate mating rituals filling every weekend of the pop culture swirling Seventies,

Which is exactly what fascinates the two wild and crazy guys from that disco crazy nation of Slobovia, an eager pair of brothers always seeking to meet more super-foxy American ladies.

Maybe it is all those head-spinning color clashes in their costumes, but “Harlie's Angels” seems to never stop moving. Contributing the most commotion are those devoutly disco Piroshki brothers, Serge (Jake Chapman) and Yerge (Jacob Brown). With only the slightest encouragement, their Saturday night fever shoots straight up into triple digits.

But they don't call the show “Harlie's Angels” for nuthin'. This trio of flashy females who excel at just about everything have got all their crime-catcher moves down pat. Just give them a couple of motorcycles and get out of the way. These Angels – Jessie (Erin Thompson), Samantha (Janee Page) and Kimberly (Heather Stricker) – can't go party until Justice has been done.

As you might be expecting, the unseen Harlie's strategic crime-stopping orders to this angelic triumvirate are relayed by the humorously bumbling Beasley (Steve McKee).

To get the plot moving, we learn Slobovia has its own disco hero, Flavio Suave (Todd Thompson), a tall man in a full length fur coat. He became an international disco favorite wearing gold shoes, gold shirt and purple pants.

Well, it is the 1970s, and the communist-leaning Slobovia wants to capture the freedom-loving Flavio so the true party-minded Slobovian government can dominate the international disco scene.

Being a no-nonsense believer in superior technology, the Commisar of the Slobovian Secret Services (Mike Yarema) has created his own deadly Discosizer, a clever machine that can suck the disco spirit out of anyone.

The Commisar is also assisted by the ever-wily Comrade Notinchka (Erin Helm).

Adding to all that discomania onstage is music director Josh Lamoreaux with a rack of electric keyboards and swooshing effects that prove he did his research on the music of the period.

The script by Peter Van Slyke, adapted and directed by Yarema and Kathryn Byrnes (who is also the choreography), put costumer Renee Cloutier at the top of her game as well.

But that is not all. The aftershow olio doubles down on providing more bang for the buck with a fully detailed 20-minute production of “The Wizard of Oz.” Not just the songs but also the scenery and characters from Dorothy (Page) blown into the land of Oz along with her little dog Toto, to meeting her pals the Tin Woodsman, brainless Scarecrow and cowardly Lion, as well as the sinister green Wicked Witch of the West.

The most remarkable performer in Oz is that green-hued Witch (Helm). She becomes everything you could ever want a wicked witch to be.

“Harlie's Angels” and the accompanying olio run through June 2 at the Gaslight Theatre, 7010 E. Broadway, with shows at various times Tuesdays through Sundays. Tickets are $27 plus tax, with discounts for groups, students, seniors, military, first responders and children age 2-12. Phone 520-886-9428, visit www.thegaslighttheatre.com or stop by the Gaslight box office.