Gregory Doran, the Artistic
Director of the Royal Shakespeare Company has assigned the production of Measure
for Measure to himself, a difficult play to direct especially in the
current atmosphere. More about this later.
Doran places the play in early
twentieth century Vienna, a city of culture and style but also of prostitution
and debauchery. The production opens in a hall where gentlemen in smart
officers’ uniforms waltz with ladies in long, elegant gowns. The Duke of Vienna
halts the dancing and proceeds to assign his duties to the strict and
puritanical Angelo in order to tighten up the morality of the city. Brothels are
flourishing, sexual licentiousness is out of control and something must be
done. The easy-going Duke will “leave” so that Angelo will have a free hand to
enforce the law.
Doran has a strong cast. The key
players are the novice nun Isabella and the Tartuffian hypocrite Angelo. When
Isabella goes to plead for the release of her brother Claudio who had been
condemned to death for impregnating his fiancée, Angelo proposes a quid pro
quo: her virginal body for her brother’s release.
Lucy Phelps and Sandy Grierson in
Measure for Measure. Photo: Helen Maybanks.
Antony Byrne as the Duke is
always difficult to fathom. Byrne plays him as a somewhat light-hearted
character who means well but lacks a few points in his human quotient to
comprehend his actions.
The funniest person from the
government side is Michael Patrick as Constable Elbow who tortures the English
language but provides gales of laughter in the process. In a smaller role but
also entertaining is Patrick Brennan as Abhorson the executioner who takes his
profession so seriously, he considers it a mystery. Brennan also plays Friar
Thomas.
The characters from the suburban
brothels are more fun. Graeme Brookes in drag as the bawd Mistress Overdone is
simply wonderful and hilarious. Joseph Arkley as the “fantastic” Lucio comes
out as a dapper gentleman in a perfectly tailored suit, silk scarf and spats.
That’s the surface. Underneath he is a slimeball. The pimp Pompey, well dressed
and wearing a bowler, is proud of his professional standing. Between the court
and the brothels, we have the prison where the prisoner Bernadine (again Graeme
Brooks) is permanently and uproariously drunk and the last thing he wants is to
be executed or released.
Stephen Brimson Lewis’ design calls for a minimum of set
props and relies on Simon Spencer’s lighting. It all works quite effectively.
I mention the lighter side of the
production that Doran pays attention to because this is a play that needs
humour very badly. After all Measure for Measure is classified as
a comedy but there are issues, especially in the final act, that are no
laughing matter.
Lucy Phelps and James Cooney as
Isabella and Claudio. Photo:Helen Maybanks/RSC
Disentangling the plot lines of Measure
for Measure is a bit problematic partly because the Duke wants all to
be resolved in public right at the end of the play. It is a play and dramatic
necessities require a certain structure. It was written some 400 years ago and it
is unadvisable to judge it by today’s standards. But times are different.
Prince Andrew had sex with a 17-year old purchased for him by a billionaire and
he denies it, insisting that a photograph taken of him with the girl is fake. Harvey
Weinstein abused dozens of women while in a position of power and he denies it
all saying it was consensual.
Near the end of Measure
when Isabella accuses Angelo of trying to seduce her, he denies it and the Duke
(pretends) to go along with it. No, Angelo could not possibly have done that.
When Angelo denies having sex with Mariana (Sophie Khan Levy), his former
fiancée, the same thing happens. There is a frightful consistency is there not?
The
final resolution has the same problems. The despicable Angelo has to marry
Mariana
because
he had sex with her. The dashing Lucio has to marry the nicely named Kate
Keepdown who walks on stage with
baby carriage. She gets a laugh and so do we. Finally, the Duke extends his
hand in an offer of marriage to Isabella. She does not respond.
All of this is done at the expense
of the women. Perhaps, If, I may coin a phrase, we can have our cake and eat it
too, we can be aware of its social implications and enjoy a fine production of
a problematic play.
_________
Measure for Measure by William Shakespeare played
until January 18, 2020 at the Barbican Theatre, London, England. It now continues
its tour in Canterbury, Plymouth, Nottingham, Newcastle and Blackpool on
various dates. Full details here: https://www.rsc.org.uk/whats-on/
James Karas is the Senior Editor
- Culture of The Greek Press
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