by Sam Juliano
Measure For Measure, a complex Shakespeare play concerned mostly with issues of morality, is one of it’s creator’s least-performed plays, presumably because the work poses as many questions as it does answers. In fact, literary scholars have long tabbed it a “problem play” with a contrived ending and a contradictory exploration of sexual politics. It’s a tragicomedy that features a heroine who would rather see her brother beheaded than give up her virginity. And it also showcases the dubious edicts of an abusive politician whose hypocricy mirrors present day antics and a clear violation of the old adage “practice what you preach.”
The Duke of Vienna temporarily relinquishes control of his government, and places “Angelo”, a harsh interpretor of the law in control. Angelo wastes no time in immediately condemning Claudio to death for getting his fiance pregnant. Claudio’s sister Isabella, about to enter a convent, attempts to free her brother by approaching Angelo, only to face a desperate dilemma. Angelo will issue a pardon to Claudio if Isabella sacrifices her virginity to him. Meanwhile, the benevolent Duke, who has not really left at all, but stands in the wings assuming a disguise, observes this chosen replacement’s misdeeds. The plot is basically a series of twists and turns, with Isabella’s story alternating with the comic hijinks of a constable named Elbow, a madam named Mistress Overdone, and a bartender called Pompey, among others. The humor is transcribed broadly, much in a style reminiscent of traditional commedia dell’arte, which works effectively as contrasted with the serious resolution of Isabella’s plight. Angelo of course, is the villain of the piece, but one must question the Duke, whose behavior is duplicitous as well, using lies, subterfuge and disguise to accomplish his well-intentioned ends.
The play boasts some beautiful lines (what Shakespeare play doesn’t?) and there are some narratively electrifying passages, but some sections are bogged down by elaborate convolutions that can only be mitigated by elaborate mounting, which certainly isn’t the case with the “Theatre For A New Audience’s” staging, which is texbook minimalism. Characters move about on an empty stage, wearing contemporary garb, with only the ‘spying balcony’ at the back of the platform to offer anything beyond the traditional perspective. Pared down productions of The Bard’s plays are usually effective for the most part, as the language isn’t compromised by other artistic embellishments, regardless of how ravishing they may be. Like some of Shakespeare’s most famous comedies, there are plenty of disguises and wholesale deception in the rhetorical maneuverings. One such perpetrator of deceit, recalls Iago, though Lucio does awaken in the Duke some truths between what is done in private as opposed to what appears to be in public. He sarcastically makes reference to sexual shenanigans by comparing it to other hedonistic pursuits, saying it won’t end “till eating and drinking be put down.”
The Duke’s production lightens up the philosophically opaque context, clearly stressing the more comedic aspects of the play. This is the third Shakespeare play performed at this intimate three-quarter stage theatre in a darkened second floor auditorium on bustling 42nd Street by this company (the others were Othello and Hamlet, both reviewed here at WitD) and the second directed by Arin Arbus, who works hard to cull some strong performances from her solid cast, though truth be said, this production isn’t within hailing distance of Othello, which was a thundering powerhouse production, fueled by a superb moor. The director does receive a tour de force from Jefferson Mays as the Duke, whose multi-shaded turn is marked by broad humerous strokes as well as the more pensive approach to the more austere matters at hand. When Mays dresses up with apparent glee, we are reminded that this versatile actor’s most famous role was in an off-Broadway show that eventually ran on Broadway, titled I Am My Own Wife, which is an examination of the life of German antiquarian Charlotte von Mahlsdorf, born Lothar Berfelde, who killed her father when she was a young boy and survived the Nazi and communist regimes in East Berlin as a transvestite. Mays played over forty roles in this one-man show.
As Angelo, Rocco Sisto matches Mays with ablistering and ultimately poignant portrayal that downplays the malevolent machinations of this trapped character, who knows full well of the horrors he must stay the course on. Whereas Lucio recalls Iago, Angelo envisions the humanism of Shylock, who appears in another play (The Merchant of Venice) technically considered a “comedy” despite its exceeding villainous underpinnings.
As Isabella, Elizabeth Waterston almost obscures her softer side with delivery and mannerisms that are off-putting, but LeRoy McClain hits the mark as Claudio with a stirring performance of great conviction.
Sarah Pickett’s spare music was rather disappointing and the costumes by David Zinn were conventional, with the monarch finery for the head of state, set to contrast. All in all, it’s a good place to start with this curious, hard-to-categorize work, but it’s far from the final word.
Note: I attended ‘Measure for Measure’ on Friday, March 12th at 7:30 PM at the Duke on 42nd Street with Lucille and Broadway Bob. We ate afterwards at The Dish, where I engaged in a splendid plate called ‘chicken santorini’ with breast, some roasted peppers, and a tangy tomato sauce with yellow rice.
A great review of this late “problem play”, Sam – I’ve never seen this one staged, not surprising since, as you point out, it is one of his least-performed. I’m glad you enjoyed this production although not seeing it as the last word on the play – interesting also to see the similarities you draw out with other Shakespeare plays, and with present-day politics.
Thanks so much Judy for the exceedingly kind words and astute view. This particular company does very fine word with the Bard (their OTHELLO was masterfully acted and staged) but as you corroborate MEASURE FOR MEASURE has always been seen by scholars and audiences as a late “problem” play, despite several brilliantly defined characters and yet another compelling parallel with contemporary politics. It’s far from his greatest play, but like every one of his works, it yields substantial “rewards” when attending.
Sam, as it is I do actually remember your “Othello” review, which I just put into the site search engine to look at again. I know “Measure” isn’t a play often tackled, but I concur that it’s worth seeing for those two male leads. This company also did “Hamlet.”
Thanks for remembering Frank. I think you pinpointed the best reason to see this: that it isn’t often staged!
The theme of appearance vs. reality (and words vs. action) is well posed in Measure For Measure. But the central issue to the plot is manipulation, as most of the events in the play are manipulated by the Duke. Without his manipulation of people and events, Claudio would have died, Angelo have remained unexposed, and Mariana would not have gotten married. Justice depends upon the Duke’s machinations and manipulations within the play, however self-serving his actions may turn out to be.
I appreciate this outstanding review once again on a Shakespeare play that I seen to like more than some, but I do understand the difficulties. This is one I’ve never seen staged, so count yourself fortunate Sam.
Boy, 42nd St. has really changed! From porn to Shakespeare.
Ha Peter! From porn to Shakespeare indeed. John Greco will surely smile from ear to ear when I mention here that I actually saw MIDNIGHT COWBOY on 42nd Street back in 1969, and I was not quite 15. I don’t recall the excuse that got me in past the X rating!
Your analytical contribution is top rank and dead-on the mark!!!
Thanks as always for raising the tone here!
Mistaken identity is a favorite theme of Shakespeare’s. But I once saw a production of Twelfth Night, which had me so confused that I couldn’t wait for it to end. I think you do an excellent job in conveying the strengths and weaknesses in the production you saw. The Duke sounds like a great place to see a play. And easy to get to.
…….awesome review, but I don’t think I’d be able to sit almost three hours for this! Sorry. Maybe Hamlet or Othello……
Frank buddy, where have you been? I know you are busy of course. But I appreciate you stopping in. True, what you say, MEASURE is really best appreciated by the Bard die-hards, unlike those other two great tragedies, which everyone knows and loves.
The main theme of ‘Measure for Measure’ in my opinion is the temperance of justice with mercy. Merciful justice is juxtaposed throughout with strict enforcement of the law. The duke, Isabella, Escalus, Mariana, and the Provost all advocate mercy. Only Angelo demands strict adherence to the law, even to recommending his own execution when his deeds are discovered.
Bill, again you make a brilliant observation, which is deeply appreciated. This is indeed one of the most vital themes in this play!
Hi! Sam Juliano,
I just finish reading your review…Once again, what a very well-written, very descriptive review…of a Shakespeare, play that I haven’t read or viewed (on stage) yet…(All together now…with “yet” being the operative word.)
Sam Juliano said,”It’s a tragicomedy that features a heroine who would rather see her brother beheaded than give up her virginity. And it also showcases the dubious edicts of an abusive politician whose hypocricy mirrors present day antics and a clear violation of the old adage “practice what you preach.”
One word is all that is needed…Wow!
Sam said,”The play boasts some beautiful lines (what Shakespeare play doesn’t?)”…
But, of course…
…”We ate afterwards at The Dish, where I engaged in a splendid plate called ‘chicken santorini’ with breast, some roasted peppers, and a tangy tomato sauce with yellow rice.”…Hmmm…
…Thank-you, for sharing…as usual.
DeeDee 😉 🙂
As always I am thrilled to get your feel-good comments, and I salute you fair lady for your eternal kindness.
I am not surprised that this particular play was unseen, as truthfully it seems that only the fanatical Bard followers can make claim to having much experience with it, in large measure because it’s rarely staged. But it’s basically overshadowed by the more high-profile comedies like AS YOU LIKE IT and TWELFTH NIGHT. But yes, you are right to note those character aberations there, and they are among the play’s most fascinating revelations.
And yes, your corroboration on the beauty of Shakespeare’s language is a given.
The chicken dinner was a perfect cap to what was a most pleasurable evening. Ha!
Thanks as always for your insights, support and incomparable friendship.
A fine and wonderfully written review on a subject that is, obviously, very dear to the authors heart. The cinviction, passion, and knowledge that flows out of Sam in essays like this make me wonder why he even bothers reviewing film and focus solely on theatre and music. After reading this review, I feel like in armed to the teeth before going into the theatre to see this play (if I were seeing it). The writing hear is both exiting and exhilerating. This is your best venue Schmulee…..
Hey Sam. Enjoyed reading that review of one of Shaking Billy’s more curiously fascinating plays!
I agree with Bill and you above regarding how the play’s main thematic preoccupation is an exploration of how justice should be dispensed. Indeed, it is a theme that frequently pops up in Shakespeare (e.g. “The Merchant of Venice” or “The Tempest”), especially given that the legal system inherited from the Middle Ages would have been low on fairness and punishments commensurate with the crimes.
Indeed, I think that there is something terribly dramatic about how British society in the 16th century is beginning to develop ideas such as these. Equally, there is something quite revolutionary, from a social perspective, of playwrights such as Shakespeare taking ideas developed by the likes of Francis Bacon and Thomas More and then expressing them in a format that helps to promote them to an even wider audience again!
Sam, I’m so glad you reviewed “Measure for Measure.” This week I asked the following sprout question on Creative Potager: What do you do when you have a creative “problem child?” I wonder how Shakespeare would have answered this question in relation to “Measure for Measure?”