Measure for Measure moves Minute by Minute

 The Oberon Theatre continues its 2005 season with the production of William Shakespeare's Measure for Measure, directed by Eric Parness. Having seen a previous production at the Oberon Theatre that blew me away, I was expecting to garner the same feeling with Measure for Measure. However, I unfortunately walked away not nearly as awed. Sure, the acting was impeccable by an entire cast that truly gelled as an ensemble, a credit to the Oberon Theatre and a staple of their company, but there was still one thing I couldn't ignore – it was just too long.

I am asking all the Shakespeare enthusiasts out there to please forgive me and hear my reasoning through. I have always enjoyed Shakespeare, even in its purest form, but there were some elements to this production that did not help the storyline move. 

Little of Shakespeare's play was cut from this production. Although this doesn't necessarily equate to a bad performance, some sufficiently average theatrical elements of the play, combined the length of the script made for a play that stiffly moved from scene to scene rather than smoothly flowing from one into the next. All the stand out acting in Measure for Measure couldn't cover up for what the rest of the play lacked. Little was done with scene changes to keep the plot moving. Granted, I realized I was sitting in a theatre with 30+ seats, so I wasn't expecting elaborate revolving sets or trap doors. However, the lighting was minimal and did not make up for the lack in scenery and props. Lighting can often add extra texture to a scene, whether the audience consciously realizes it or not. Instead, with Measure for Measure, the lighting was minimal and fell short when it could have stolen the show. 

Additionally, the sound effects could have been chosen wiser and softer. The one sound effect that my memory continuously held onto was that of a creaky old door opening and then slamming shut to signify the end of a scene. The idea works, but the actual execution of it did not. I ended up asking my guest what that "noise" was and thankful she recognized right away. I don't know if the rest of the audience had the same problem that I did, but I found the effect intriguing and at the same time so unrecognizable, that I spent more time attempting to figure out what it was, rather than pay attention to the story unfolding before me. Other sound effects throughout the play just ended too abruptly. One example was music that was building and building to promote the tension in a certain scene. However, once the tension reached its peak, the sound just completely cut off. I think the scene could have been more effective if the music peaked and then softly faded into the background rather than just immediately ending. 

However, despite these elements, the play was still worth seeing. It was worth purchasing a ticket, as long as you were prepared to sit for just under three hours in a not so comfortable folding chair. Set those things aside, and I promise, you would take in a stellar performance. There were some characters that deserved additional recognition and I cannot go without mentioning. 

Brad Fryman's portrayal of "Elbow" was not overacted at all when it very easily could have been. Fryman made "Elbow" obnoxious, yet still funny and completely put himself into this bit character. He literally made "Elbow" appear like a whirlwind on stage with his extremely funny and animated entrances and exits. Walter Brandes, who played the part of "Angelo" did this Shakespearean character proud. His soliloquies were passionate and moving yet he was heartless and stone cold when deciding the fate of "Claudio." Brandes demonstrated this wide range of character flawlessly, a true credit to his craft. The role of "Pompey," the Shakespearean pimp, was a character endeared to everyone in the theatre. The humor, costume and swagger Philip Emeott portrayed with "Pompey" displayed a thorough examination of the character which he poured himself into. Finally, I cannot go without noting the incredible performance by Patrick Melville, an Oberon member who stepped in as a last minute replacement for the role of "The Duke." The strength of the cast was truly seen at this performance as they supported Melville throughout the dialogue and made for a smooth transition to his newly acquired role. The Oberon Theatre and the cast of Measure for Measure could not have asked for a better replacement. 

So, I leave the decision up to you. Minus a few elements which tend to hinder the movement of the play, Measure for Measure was a fine performance, whether you're a Shakespeare lover or not. If you went in knowing you would be there for a while, you would come out having seen another strong production for the resume of the Oberon Theatre.

Keep an eye out for the Oberon Theatre's next production, Feasting On Cardigans scheduled to premiere in April 2005. Visit www.oberontheatre.org for more information.

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