Shakespeare Theatre's production of Love's Labor's Lost is, in a word, groovy.

The theatre has taken Shakespeare's comedy and given it a 1960s style-twist, and boy does it work. It's not the first time that music has played a key role in the re-imagining of Love's Labor's Lost, which tells the tale of four men who have sworn off love for three years in order to concentrate austerely on their studies, only to be confronted with the arrival of four very hot (and potentially interested) maidens just as they've made such a vow. In his 2000 film version, director Kenneth Branaugh turned the work into a 30s style musical, with jazzy standards such as "I Get A Kick Out Of You" and "Cheek To Cheek" interrupting the action. The effect was charming, but a little forced and even a bit square.

Here, director Michael Kahn has done a better job of incorporating music, going as far as to set many of the play's actual verses to song. Turns out that such phrases as, "My vow is earthly, though a heavenly love" don't make for bad lyrics. The play's best scene comes as each student more fervently expresses his affection for his desired woman, to an unknown audience of his fellow would-be suitors. One man has a guitar and plaintive, coffee-shop worthy voice — another rocks out with a set of drums. The action and ridiculousness builds to a frenzy not unlike the snazzy opening of "Austin Powers". All we need are some go-go dancers.

Speaking of Austin Powers (and go-go), the four women in their knee-high white boots and colorful apparrel look almost like the movie's notorious Fembots, striking robotic, sexual poses as they giggle and scheme. Bright costuming and a brilliantly-colored set do much to further set the mood in this production.

Our eight leads all do a fine job (Hank Stratton as Berowne is a little plastic, but this is a minor complaint), and we're treated to some strong character work as well from the minor players. Geraint Wyn Davies, as Don Adriano, has an ever-smiling, endearing theatricality that is only upstaged by his pimp-like getup (Don Adriano diverts from Shakespeare's text on more than one occasion, breaking into bars of such songs as "Besame Mucho", and it's always a delight when he does). As Costard, one of the few men who does not attempt to buy into any ideas of aescetic denial, Michael Milligan, in long hair and dark sunglasses, gives the most overtly stoned and spacey performance of the group, and his "Whoa, dude!" delivery is good for many laughs.

It can be debated whether Love's Labor's Lost is an underappreciated gem of the Bard's or whether this production just shows off its every asset. But either way, this lively, free-spirited look take makes the text worth another look, baby.

Love's Labor's Lost runs through July 30 at Shakespeare Theatre. Tickets are available on the theater's Web site.