“Measure for Measure,” which is at Shakespeare & Company through September 18, is one of Shakespeare’s less- performed works. Indeed, the Lenox, MA company hasn’t produced a version of it since 1987.
It would seem the play would be ideal for today’s world. It should speak vividly to the “Me Too” movement, as the play shows a woman being forced for sexual favors to save her brother from death by the decree of a powerful man. It also addresses the timely issue of the lack of justice in a world in which minorities have little voice in society.
Sadly, the functional production under the direction of Alice Reagan does not generate any passion for either situation. As an audience member we sit as uninvolved witnesses as injustice is administered by a hypocritical authority.
Intellectually we are appalled by the situation. But, because most actors perform without desperation or urgency, the play rarely succeeds on an emotional level.
Hurting the effort is the actors on the proscenium stage deliver their lines in soft, conversational monotone. It is difficult to hear. Using the stage in its familiar thrust position, with the audience on three sides, might have helped.
There are no poor performances, but neither is there very much to remember. Indeed, this production only reinforces “Measure for Measure” as being termed one of Shakespeare’s “problem plays”. It also offers a reason as to why it is so seldom produced.
Shakespeare set the play in a morally troubled Vienna. Director Reagan moved the locale to “Harlem USA, the 1950s.” The ruling Duke realizes the problems and steps away from power on the pretense of making a journey. Instead, in disguise, the Duke hangs around to see how the probable successor, Angelo, would behave if given total power.
The answer is badly. The self-righteous Angelo becomes cruel and unfair. He sentences Claudio to death under the charge of fornication. Claudio impregnated his fiancée after technicalities prevented their marriage, but Angelo enforces an archaic law to have him executed. When his sister, a novice nun, pleas for mercy, Angelo demands she submit her virginity to him to save her brother.
There are other subplots featuring a variety of characters as eight actors play 15 roles. They are meant to add comedy, mystery, intrigue and more reason to show Angelo’s unfitness to rule. They work to various degrees, but few scenes could justify the work being defined as a comedy.
Clearly the emotions of the presentation revolve about how much we despise Angelo and how much we care for Isabella. You would be hard of heart not to empathize with Isabella. Nehassaiu deGannes plays the woman as tender, wise and loving. She is also tough. Her decision to be true to her virtue or save her brother’s life is one of the play’s most involving dilemmas.
On the other hand, David Gow as Angelo does not create a complicated villain. Obviously, he is a tyrannical power-loving deceiver, who is easy to dislike as evil. However, his portrayal would be much more interesting if he could show some inner conflict. Is he purely a hypocrite who actually believes he is morally omnipotent? Or is he a victim of his uncontrollable lust for Isabella, which would provide inner-conflict about breaking his own moral code? Gow plays him without any ambiguity and it denies the play and the character a lot of complexity.
The Duke is played as a female, giving the production a maternal feel. Ariel Bock plays her as a calm, rational person who wants good for many. However, rarely does she project the image of a strong leader. In the world of Harlem in the 50s she seems a soft-spoken, white, middle-aged manager rather that a corporate or political leader. Being the wisest person on stage, this portrayal emphasizes the need for any era to learn a feminist view of the world.
Another social observation in “Measure for Measure” is how, at the start of the play, the actors of color play subservient characters who lack a voice in government. By play’s end, because of talent and virtue, they are the leaders of the city. This is of extreme importance in a work in which the central theme is equal justice for all.
“Measure for Measure” is a potentially fascinating play. It’s an excellent example of the wisdom present in even Shakespeare’s weaker plays.
“Measure for Measure” continues at Shakespeare & Company through September 18. For tickets and schedule information call 413-637-3353 or go to Shakespeare.org.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
