Reviewed by Judd Hollander
What you sew, so shall you eventually reap. A warning that could easily
apply to William Shakespeare's Measure for Measure, currently being
given an enjoyable revival by Theatre for a New Audience at the Polonsky Shakespeare Center
In Vienna
Taking his new position to heart, Angelo quickly begins a puritanical
crackdown. He ordering the destruction of houses of ill-repute in the
surrounding countryside, while sending violators of these now vigorously
enforced decrees to prison. Among those jailed is Claudio (Leland Fowler),
condemned to death for fathering a child out of wedlock. Although Claudio and
Juliet (Sam Morales), the woman in question, are deeply in love and have plans
to marry, this does not sway Angelo's decision. He seeing Claudio's death
as a necessary example to discourage others from this practice.
In desperation, Claudio beseeches his friend Lucio (Haynes Thigpen), to
seek out his sister, the beautiful and virtuous Isabella (Cara Ricketts) and
have her plead his case. Struck by the young woman's exquisite beauty, Angelo
finds himself weakening to the needs of the flesh. As shown via a
well-delivered inner monologue where he debates the pros and cons of the
situation. Angelo eventually surrendering to his desires and telling Isabella
that if she spends the night in his bed, he will spare her brother. Visiting
her Claudio in prison, the distraught Isabella relates Angelo’s
demands. Her tale overheard by the disguised Duke, who hatches his own
scheme to resolve the matter.
A nicely pointed morality tale, and long regarded as one of the Bard's
so-called "problem plays", party due to the difficultly of melding
the piece’s comedic and dramatic tones, there is much to like in this
production. The show having as its ultimate message that only those who are
totally without sin should cast the first stone. Isabella being the only person
in the play who actually fits that description. For not only is Angelo trying
to retain his position of power following his temporary moral slippage, there
is also another incident in his past involving a woman. One which he would very
much like to forget.
The Duke is no saint either, though to the character's credit, he never
aspires to be. Having been unable to stop the vice and corruption that has run
rampant in his city for 14 years, he basically tosses his entire failed legacy
to Angelo, and to a lesser degree Lord Escala (January Lavoy), who acts as
Angelo’s second-in-command. There's an interesting political element present
here with the Duke, who is apparently much loved by the people, being able to
swoop down and change things to his liking, and then appear to look all the
better for it, at least in the eyes of his subjects.
Others with questionable moral attitudes include the condemned Claudio,
who is at first quite willing for his sister to sacrifice her honor and
virginity to Angelo so he might be saved from the gallows. There’s also
Thigpen’s wonderfully winning performance as Lucio, a reprobate and rogue who
follows the axiom of never telling the truth when a lie will do. He continually
trying to turn every situation to his own advantage. Especially enjoyable in
this regard are the Duke’s slow burns when he catches Lucio spouting one
untruth after another. However due to his attempts to conceal his identity, he
is unable to do anything about it, at least for the moment.
The play also takes pot-shots at the ineffectuality of the criminal
justice system, as seen via Barnardine (Zachary Fine), a long-time prisoner who
simply refuses be executed when the time calls for it. There's also a
legal examination that turns into a hilarious comic free-for-all, thanks to the
continual mangling of words by Constable Elbow (Fine) during Angelo and
Escala’s questioning of several accused violators of the law.
Cake does a good job as the well-meaning but somewhat ineffectual Duke,
who finally comes up with a way to address the problems that afflict his city.
Ryan is excellent as the outwardly stern, inwardly all-too-human Angelo.
Zachary does a nice comic turn as Elbow and Thigpen is a genuine hoot as Lucio.
Director Simon Godwin nicely guides the story and performers through the
different elements of the tale, and the sets and costumes by Paul Wills – the
play done in modern dress - all work well.
The only sequence that really doesn’t work is a somewhat extraneous bit
which takes place in a nightclub – complete with songs. While it does serve to
introduce a key character, leaving in the dialogue while cutting out the
musical numbers, and the resulting audience interaction, would cut out
approximately fifteen unneeded minutes from the show.
Well presented, while taking pains not to hit the audience over the head
with its message, this production of Measure for Measure is
quite the satisfying treat.
Featuring: Oberon K.A. Adjepong (Provost), Jonathan Cake (Vincentio, the
Duke), Kenneth De Abrew (Froth/Abhorson/Friar Peter), Zachary Fine (Friar
Thomas/Elbow/Barnardine/Gentle), Leland Fowler (Claudio), Merritt Janson
(Marina), January Lavoy (Mistress Overdone/Escala/Francisca), Christopher
Michael McFarland (Pompey), Sam Morales (Juliet), Cara Ricketts (Isabella),
Thomas Jay Ryan (Angelo), Haynes Thigpen (Lucio)
Musicians: Drew Bastian, Robert Cowie, Osei Essed
Scenic & Costume Design: Paul Wills
Lighting Designer: Matthew Richards
Composer & Sound Designer: Jane Shaw
Voice & Text Coach: Alison Bomber
Properties Supervision: Eric Reynolds
Hair & Makeup Design: Cooke Jordan
Dramaturg: Jonathan Kalb
Casting: Deborah Brown
Production Stage Manager: Megan Schwarz Dickert
Assistant Stage Manager: Rachel Gross
General Manager: Michael Page
Press Representative: Blank Zidell & Associates
Choreographer: Brian Brooks
Directed by Simon Godwin
Theatre for a New Audience
Tickets: 866-811-4111 or www.tfana.org
Running Time: 2 Hours, 55 Minutes, one intermission
Closes: July 16, 2017
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