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I'm teaching _Love's Labor's Lost_ for the first time, using the Signet edition by John Arthos. Arthos includes his own essay "_Love's Labor's Lost_ on the Stage," in which he discusses Peter Brook's "'landmark' production" of 1946 in which Brook mixes his anachronisms, dressing everyone in 18th-century costume except Constable Dull, who is dressed as a Victorian policeman. Arthos implies that Brook was the first to use anachronistic costuming in this way (or perhaps I'm just inferring it), as opposed to, for example, Welles's famous production of _Julius Caesar_ as thoroughly modern fascists. This mixing of anachronisms for Renaissance and medieval drama seems to be the rule now, if the Washington, D.C., Shakespeare Theatre and the Shenandoah Shakespeare Express are any measure, and I wonder if it really was Brook's innovation. Does anyone know of any earlier modern performance practice along these lines? Is there any evidence that it is a sui generis rebirth of original practice in early drama productions (e.g., mixing togas and pumpkin pants)? Alan Baragona [log in to unmask] "A man who is not a liberal at twenty has no heart. A man who is not a conservative at forty has no brain." Winston Churchill "VMI: where the heartless are taught by the brainless." Alan Baragona