Stratford Beacon Herald, August 15, 2005
Festival's Measure for Measure 'spellbinding'
By: Sharon Malvern
Measure for Measure is sometimes referred to as one of Shakespeare�s �problem plays,� a thought-provoking black comedy that deals with issues of corruption, morality and the abuse of power. But the play was obviously no problem for director Leon Rubin and the talented cast who opened the 2005 production on the Tom Patterson stage Saturday night.
From the spectacular opening scene to the closing revelations, the audience was spellbound by the emotional intensity of the actors.
Before the opening lines of the play were spoken, the lights came up on an extraordinary scene. John Pennoyer�s imaginative set of sleek steel columns, protruding balconies over exits and an immense curved structure supporting a swing was peopled with scantily clad actors in seductive and acrobatic positions. Dancing nuns, strip-tease, an open bar and flashing coloured lights created a naughty club setting. This scene of urban decadence was quickly shattered when soldiers raided the establishment, dragging the revellers off. It was a brilliant opening, capturing the play�s main conflict between the sexually permissive society of Vienna and the Duke�s desire to restore respect for the law.
Vincentio, the Duke of Vienna, announces he is going abroad and appoints the administrator Angelo as his deputy, charging him with the task of enforcing the long-ignored laws against immorality. However, the Duke remains in the city, disguising himself as Friar Ludowick so that he can observe the effects of Angelo�s crackdown.
Angelo�s first act is to condemn to death the young Claudio, who is charged with impregnating his betrothed Juliet. Claudio�s sister Isabella, a novitiate in a convent, begs Angelo for mercy for her brother. Angelo proposes a deal: he will spare Claudio�s life if Isabella will sleep with him. Horrified, the virtuous Isabella cannot agree.
But the disguised Duke has a plan: if Isabella pretends to accept Angelo�s proposal, he will arrange for a �bed trick,� whereby Mariana will take her place under cover of darkness. (Angelo was supposed to marry Mariana earlier but reneged because her dowry was lost at sea.) Angelo falls for the trick but orders Claudio executed anyway. The Duke reveals his true identity, exposing Angelo�s hypocrisy and restoring order by freeing Claudio.
Most Shakespearian comedies conclude with happy wedding scenes, but Measure for Measure ends in ambiguity in that respect.
Throughout the play, Shakespeare addresses the problems of sexual harassment, judicial corruption, political mismanagement and a licentious society with compassion � and humour. The comic relief supplied by Lucio, Pompey, Elbow and Barnardine nicely balances the intensity of the serious scenes.
Dana Green was superb as Isabella. Her range of emotional expression was outstanding in numerous demanding scenes as she passionately pleaded for her brother�s life, conducted difficult negotiations with the lustful Angelo, explained to Claudio why she couldn�t save his life and plotted with the disguised Duke.
As Angelo, Jonathan Goad was the epitome of the uptight, upright authoritative bureaucrat. But he particularly excelled as he revealed the inner conflicts that tortured him. He illustrated the complicated nature of man with subtlety and skill.
Thom Marriott was appropriately authoritative as the Duke and compassionate as the Friar. His versatility in portraying the two roles almost simultaneously was a remarkable feat. And his scenes with the irrepressible Lucio, played by Don Carrier, were the comic highlights of the production.
Jeffrey Wetsch as Claudio was a convincing victim of over-zealous law enforcement.
Kudos also to Andrew Massingham (Pompey), Shane Carty (Elbow the Constable), Evan Stillwater (Barnardine) and Diane D�Aquila (Mistress Overdone the Bawd) for providing light-hearted moments in grave circumstances.
Among the 19 members of this exemplary cast were no fewer than 14 graduates of the Birmingham Conservatory for Classical Training of the Stratford Festival. That statistic speaks for itself.
John Pennoyer�s innovative design for the Tom Patterson stage was effectively used to create various locations, from urban club and government offices to convent and jail cells. His use of the tiny balconies and the house steps allowed the actors to intermingle with the audience, an effective device used throughout the performance to enhance the intimate connection of actors and audience which is characteristic of this theatre. And his trademark use of aerial space echoes his design for last season�s production of Midsummer Night�s Dream.
Although this play is rarely performed, it�s not without relevance in the 21st century. Its complex political and ethical issues are timeless: the qualities of good government, the balance between justice and mercy, individual responsibility and the essence of personal morality. It takes the �measure� of society while providing great entertainment at the same time.
The 2005 production of Measure for Measure marks a milestone for the Stratford Festival. All of Shakespeare�s plays have now been produced on the Stratford stages during the tenure of artistic director Richard Monette, 1994-2005.
Performances of Measure for Measure at the Tom Patterson Theatre continue through Sept. 24.