By Dennis Abrams
At Publishing Perspective’s year-long exploration of the plays of William Shakespeare, The Play’s the Thing, we’ve done farce, we’ve done histories, we’ve done a tragedy. And now we’re entering what can only be described as Shakespeare’s high lyrical period, the time when he began pushing the envelope his boundaries when it came to language and poetry. Our first stop? Love’s Labour’s Lost.
Let me allow Harold Bloom, bardolator supreme, to describe it:
“…I take more unmixed pleasure from Love’s Labour’s Lost than from any other Shakespearean play…[it] is a festival of language, an exuberant fireworks display in which Shakespeare seems to seek the limits of his verbal resources, and discovers that there are none.”
I hope you can join us.