The set had a deliberately hodgepodge yet sturdy look to
it, with several doors, each painted a different color, with nothing matching,
as if the whole thing had been put together over a long period of time with
whatever materials had been available. Before the show, pop and rock tunes
played at low volume over the speakers – songs like Electric Light Orchestra’s “Livin’
Thing” and “Can’t Get It Out Of My Head,” and Badfinger’s “Come And Get It.” As
it got close to show time, several of the actors mingled with the audience. And
then, just after 7 p.m., one of them announced, “Ladies and gentlemen, Mistress Overdone’s house of ill repute is open for
business.” Immediately, a sort of party atmosphere was established, one
which the audience felt a part of. The reading of the park rules was offered as a
way to introduce the audience to the feel of Vienna, with the actors saying
that the Duke lets the people get away with anything, but no smoking or
photography during the performance. After the obligatory thanks to the
sponsors, the show was underway.
Measure For Measure
is considered to be one of Shakespeare’s tougher plays. It is a comedy that features
characters who do rather despicable things. Particularly problematic is Duke
Vicentio, here played by David Melville. At the beginning of the play, he
bestows his power on Angelo, hoping that Angelo’s puritan nature will help put
a stop to the general lawlessness of the citizens. But Vicentio doesn’t really
leave, but rather disguises himself as a holy man and goes about manipulating
the action. In the course of the play, he engages in questionable behavior. I
found, in reading the play, that I did not like this character at all. However,
David manages to show a playful side to his actions, and plays the role (at
most points) for comedy, giving him a more human touch. When he tells Angelo, “There’s your commission,” he grabs his suitcase to hurry off, until
Angelo stops him. Angelo (William Elsman) is immediately shown as uptight – by his
wardrobe and posture, by the way he carries himself. And I appreciate that the
production takes the time to show he is reluctant to take on the burdens of
leadership. He is not a power-hungry man, and William Elsman does an excellent
job of showing the character’s own conflict and turmoil with regards to his
charge.
In this production, Mistress Overdone is played by a man
(Xavi Moreno), which of course was the normal way it was done in Shakespeare’s
day. But here – with the other female roles played by women – it gives the
character an extra layer of playful bawdiness, a greater sense of anything
goes, and a delightful sexuality. Those that enter with Overdone have a fun,
loose feel, dressed in bright colors. Lucio (Nikhil Pai) is a bit foppish in
his purple suit, stroking his walking stick. Many of this company’s productions
will toss in modern references, usually done by the clown characters who are
somewhat freed from constrictions anyway. In Measure For Measure, it is the clown Pompey (Lorenzo Gonzalez) who
delivers these modern references, telling the audience that “What happens in Vienna no longer stays in
Vienna.” He also makes references to CSI
and Law And Order, and delivers a
play on the song “Bad To The Bone,” as well as making references to Donald
Trump. Interestingly, what seemed a modern reference – Vicentio telling the
Friar that he is believed to be in Poland – is actually in the text (Donald
Trump left for Poland the very day I saw this production). And again when
Angelo says “This will last out a night
in Russia,” what might seem to an added reference to Trump is actually part
of the text. This play has a second goofy character, Elbow, the constable, here
played delightfully by Richard Azurdia. His whole bit about choosing the wrong
words, leading him to say he detests his wife, is done wonderfully.
Isabella is tough character to play. Is her purity and
chastity something to be commended even if it means the death of her brother,
or is she too cold, as Lucio says more than once? We can’t help but agree with Lucio the
first time he tells her that, for she seems to have given up so easily in her
suit for her brother’s life, saying “I
had a brother then,” a line which I find funny. William Elsman is excellent
in this scene, particularly in his reactions to Isabella’s “judge you as you are” and “Dress’d in a little brief authority,”
showing us he is well aware of himself and his situation. And he tries to leave
before bowing to his own attraction to her. His “Well, come to me tomorrow” is delivered with some affection. And
his “What’s this? What’s this? Is this
her fault or mine?” is funny and perfect. Lucio’s asides are shouted as
encouragement to Isabella from the safe distance of the audience, a humorous
touch.
But it is their next scene together where both Elsman as
Angelo and Kalean Ung as Isabella really shine. In his soliloquy at the
beginning of the scene, Elsman gives a slight pause before the word “pride,” as he doesn’t want to admit
that, even to himself, but must. And when Isabella enters, we can plainly see
Angelo’s struggle. This is important, if we are to continue to like this
character. He gives a great delivery of “Or
seem so craftily, that’s not good.” This scene is difficult, and both
actors do an excellent job with it. Their performances and the way they
approach the scene make it clear to the audience just how relevant this
situation still is. And I love Kalean Ung’s reaction when her brother Claudio (Evan
Lewis Smith) says “but to die, and go we
know not where,” for it seems to her that he is questioning the very
existence of an afterlife, one of her core beliefs.
One of the play’s big questions is just how Isabella
reacts to the Duke’s marriage proposal. Shakespeare gives her no lines there,
and that can be interpreted many ways. In this production, we see fairly early on
the affection that Isabella has for the Duke as she speaks of him, so that the
happy ending doesn’t come out of nowhere. Isabella is surprised at the Duke’s
sudden suit, and is not given a chance to respond. Then, when he repeats his
intentions, she accepts by silently, happily taking his hand. As for the bed trick, this
production handles it quite well. First of all, April Fritz as Mariana is
approximately the same height as Isabella, so it is believable that one might
be mistaken for the other. And also, a short scene without dialogue is added,
in which Mariana hands Angelo a blindfold, which he puts on before she leads
him away.
Though a lot of this production is hilarious, I found that some of the more serious moments were among the best. As I mentioned, that scene between Isabella and Angelo was particularly noteworthy, with Elsman delivering an astounding performance.
Though a lot of this production is hilarious, I found that some of the more serious moments were among the best. As I mentioned, that scene between Isabella and Angelo was particularly noteworthy, with Elsman delivering an astounding performance.
There is one fifteen-minute intermission, coming partway
through Act III Scene i, just after Isabella’s line, “Fare you well, good father.” And just before the end of
intermission, some of the cast jokes a bit to allow folks time to get back to
their seats. The performance ended at 9:47 p.m.
