The Brattle Theatre Company and William Shakespeare have again collaborated and in "Love's Labour's Lost" have brought forth a production bound to delight their Cambridge audiences. Not only is the Brattle Company at its best, but it has chosen a play well tailored to its own sense of fancy.

The play is one of Shakespeare's earliest and it is his most frivolous. A group of scholars vow to live three years isolated from all female companionship, but the arrival of a French princess and her female entourage challenges and soon ridicules the pledge. Upon this comedy of incident is built the larger and more important comedy of words; poetic dialogue is the main mirth of the play. In provocative contrast, the concluding prose lines suggest both tragedy and the Shakespaere of tragic fruition. "The words of Mercury are harsh after the songs of Apollo," says philosophic Armado after the women have been called home. "You, that way; we, this way."

"Love's Labour's Lost" does not read as well as it plays, and thus the production itself is especially lauditory. Director Albert Marre has given it a Shavian setting; the characters dress in 19th century costume and move in a "Man and Superman" milieu without the least offense to context. "Love's Labour's Lost" would be young in any century, if it received the kind 'of delicate treatment which the Brattle Company has administered. Grace and delicacy are just what the Brattle group has given it.

A score of bravos go to Marre himself. His staging is balanced and poised, and he and his cast illuminate nuances which many alert readers might miss. Furthermore, there are only polished performances to be found in the whole production. Ian Keith, as one would expect, has captured the whimsical brooding which Armado requires; Hurd Hatfield as the witty and poetic Biron is just that; Jerry Kilty as the King is a perfect pedant; and the beautiful Jan Farrand is a beguiling Rosaline. Albert Duclos', Thayer David's, and Fred Gwynn's character portrayals are outstanding.

The production is finished with all sorts of fine trimmings, not the least of which are Robert Fletcher's costumes and Robert O'Hearn's settings. Light organ and piano music, strictly a Brattle accouterment, provide a tasteful background.

"Love's Labour's Lost" is colorful, lively, and designed to captivate. It is in complete tune with the season. A delightful spring reigns at the Brattle.