Review: MEASURE FOR MEASURE at Shoreside Theatre, Pumphouse Theatre

What makes any Shakespeare production superb is the director’s ability to recognise the themes within Shakespeare’s text - his extraordinary ability to bring his characters to life by a turn of phrase, a pun, the looks they share, by a breath they take, by the pause they make, the jokes they make. Congratulations to James Bell for his impressive and skilled direction of a stellar cast of “Measure For Measure”. This is one of Shakespeare’s lesser known later “problem” plays but it’s one with plenty of relevance for today’s audiences. There are copious contemporary examples of powerful men (and women) who misuse their power and take advantage of others. As a man of influence Angelo demands Isabella sleep with him. Is this familiar? And when she threatens to expose him: “ I will tell the world what you are”, his retort is also familiar: “Who will believe thee, Isabella?”

 

Titles often hint at the story and the themes the audience will consider. The central theme  alludes to the verse in the Bible about whatever measure one gives out, one will also be measured in the same way. Shakespeare explores the concepts of Justice and Mercy, showing how they both seemingly go hand-in-hand. The plot branches from a core of several Biblical values. Around the central conflict of adultery, there is slander and hypocrisy. Shakespeare also uses the characters Angelo and Isabella to represent morally superior people who both fall when they are pulled out of the righteous fortress they hide behind: chastity. As a title “Measure for Measure” is significant because the play is filled with irony and shows how out of balance the world really is.

The setting is Vienna, Austria. At the opening of the play, it’s evident that it is a city beset with brothels and loose morality. The Duke of Vienna (Stuart Tupp)  is appalled at the evidence of corruption strewn around the city, and devises a way to test his legal systems. Saying that he needs to travel, he asks a nobleman, the “moral” Angelo, to assume leadership and to uphold the law in his absence. Of course, he plans to return, disguised as a friar, to observe! Stuart Tupp  does well to adroitly capture the demanding roles of both noble Duke and the respectful, modest friar.

Ironically, Angelo says, when offered the regency:  “Now, good my lord,
Let there be some more test made of my metal,
Before so noble and so great a figure
Be stamp'd upon it.”

Yes, he is going to be tested! Excellent characterisation from Nick Milnes as ice-cold and uncompromising Angelo who has a range of complex emotions to convey in the unfolding action. “Tis one thing to be tempted, Escalus, Another thing to fall.”  Initially he appears rigid and harsh in his attempts to re-establish morality, condemning to death unfortunate “fornicators” Claudio (Chris Raven) and his beautiful pregnant fiancée Juliet (Alice Dibble) who have had sex before marriage.

However, when Claudio’s sister Isabella pleads for mercy, Angelo’s immoral and hypocritical nature surfaces. Initially appearing to grow sympathetic but finding himself tempted by her virtue and beauty, Angelo attempts to bargain with Isabella to have sex with him, in order to save Claudio. Naïve Isabella (Aria Harrison-Sparke)initially misunderstands his intent, but once she understands, is scandalised by his indecent demands. One of the strengths of Aria Harrison-Sparke is her ability to stay completely in the moment, acting with psychological, physical and vocal truth. The audience hangs on her every word, watches every facial response, feels her emotional responses, connects with her pleas. We understand her conundrum, that expresses the vulnerability of many women: “To whom shall I complain? Who would believe me?”

Later, Angelo’s duplicitous nature will be found out – but you will need to watch the show to see how Shakespeare untangles this “problem”.  By now, the audience are already invested in finding out what will happen next. There will be many tricks and turns in this complicated tangle.

 

As is in common with Shakespeare plots, “Measure for Measure” has parallels and contrasts. In this play, it is the various scenes of judgement. In contrast to the very serious scenes, we have those which are ironically comical. Director James Bell has deliberately accessed the potential comic elements of the play and, in doing so, significantly lightens the action.  

 

Superb work from the “clowns” and “fools” who engage the audience with aplomb and lighten up the more serious action.  We laugh at Elbow (Tanna Van Rensberg) , the somewhat dull police officer who enforces sex laws. Prone to speaking in malapropisms, the law is depicted as less clever than those who break it. The audience loved the simple description of , in short, “a naughty house.” Resonant-voiced and foppish Pompey (John Charlton), the quirky quick-witted "bawd" sceptical of any attempt to enact laws that will eliminate prostitution, had us agreeing with him. Mistress Overdone (Steph Curtis), brothel madame, has a lusty enthusiasm for her life,  comic panache, and compelling facial expression. Theatrical and gossipy Lucio (Max Pirotais-Wilton) effectively symbolises the more indulgent aspects of Viennese society. Emerson O’Regansuccessfully captures Barnardine, an irritable, drunken prisoner, with laziness so extreme that he refuses even to appear for his own execution, and as such the authorities give up on trying to execute him!

 

In fact, outstanding performances from each and every member of this impressive cast. Shakespearean vocabulary in itself can be challenging! Every well-projected and suitably pitched word was easily heard, and Shakespeare’s dialogue sustained its rhythm and vitality throughout. The audience comprehended both meaning and mood. Stephen Ellis, as Escalus is the voice of reason counselling against acting unjustly or too harshly, and to think of one's own sins when meting out justice. He repeatedly presents many arguments for justice with passion and conviction.  Michelle Atkinson is a superb Provost, just, logical, clever, and astute.  The smaller roles are all enacted with skill. Alice Dibble captures three contrasting and challenging characters well. Terri Mellender is captivating (in girlish Barbie pink) as abandoned Mariana, a one-time fiancée of Angelo's. In almost a cameo role, Terri executes text and delivery with flair and expertise. Her breathy confession resonates with truth.

 

Shakespeare’s God-like Duke brings about the resolution, teaching all who are involved that justice must come with forgiveness and love because nobody’s perfect. 

 

Congratulations must go to the director James Bell and his creative team. The production is imaginatively and artistically staged, with well-anchored and varied stage positions, and makes use of all of Shakespeare’s spaces. Entrances and exits are superbly and creatively handled.  This keeps everyone entirely engaged and entertained.  Lighting and sound (Jeff Philp) is focused, well-timed, atmospheric and effective.  The costuming (Aria Harrison-Sparke)  captures the concept of universality – this issue is one of “all time” not one time.

Without any doubt, this is an outstanding production, one that asks us to reflect on justice and. mercy, forgiveness and punishment in a world dealing with the scandals and ethics of authority and influence, sex and morality.  This is definitely well worth seeing.

The 28th Summer 2024 Shakespeare in the Park  (A MIDSUMMER NIGHT’S DREAM and MEASURE FOR MEASURE)  runs January 20 – February 17. Tickets on eventfinda.co.nz or (09) 489 8360. Children 12 and under FREE.

 

 

 

 

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