Camilla Gurtler
Summertime in London is the time for Shakespeare, and the city blossoms with various productions from open-air theatre in the heart of Covent Garden and small modern interpretations, to the big traditional Globe on the beautiful Southbank. Every year new theatre companies take on one of the great plays by the bard, quite often the comedies which frequent theatregoers know as well as the repeated episodes of Friends on Comedy Central. It is therefore a breath of fresh air that Immersion Theatre has decided to stage Measure for Measure, one of Shakespeare’s lesser known comedies, at the Brockley Jack in South London.
Measure for Measure is not an easy play to stage. Known as one of Shakespeare’s “problem plays” it is not as easily translated to our society today as other plays, and most audience members will find that parts of it clash directly with our morals, values and especially feminism today.
Vienna has become a dangerous city full of corruption, unlawful actions and disgraceful sexual practices. The Duke leaves the city at its worst, and makes the strict and righteous Lord Angelo his temporary replacement. Angelo’s first act of power is to rid the city of its vices and he starts with the young Claudio, a man who is in love with Julia and has made her pregnant before marriage. Claudio is sentenced to death and his sister, the innocent Isabella who’s about to enter a nunnery, has to beg for his life at the mercy of stoic Angelo. Finding himself strangely attracted to her, Angelo gives way to his dark desires – so similar to the ones he condemns in Vienna and gives her an ultimatum: Claudio’s life in exchange for her virginity. What Angelo doesn’t know is that the Duke has disguised himself as a friar and having observed the acts in his absence is planning to help Isabella trick the dishonest Angelo and save Claudio’s life.
Immersion Theatre has brought Measure for Measure into the twenty-first century, as we are greeted by sensual dancers wearing lingerie and moving to a modern track. The lights are dim, the music pumps with a dull beat that has the undertones of a Red Light District and as an orgy unfolds in the presence of the blindfolded duke – a beautiful detail that really underlines him being oblivious to the acts around him – the production seems very promising despite the well-known fact that a modern setting will clash with the final act of the play. However as the action unfolds the production seems a bit cold – the verse doesn’t sound smooth and fresh at different points in the play, and it seems like the energy that is needed for the action to roll on is not quite there yet. For Shakespeare the energy has to be a raging fire, bouncing from actor to actor and pushing the action and verse forward, but at times in Measure for Measure it seems like a small, dull flame that doesn’t really reach the proportions it should. That said there is some brilliant character work, especially from James Clifford as the rude and mischievous Lucio. Clifford is charismatic and energetic, and brings the performance to the level it should be, lifting the work of the others and controlling every scene he is in. Gregory Simpson’s Angelo is a beautiful take on a cold and moralistic man who suddenly finds himself full of inner life and dilemmas he never thought himself capable of. Simpson really proves that less is more – in his stillness we see a cold statue bursting with inner life. Also Rochelle Parry’s fragile Isabella and Clive Keene’s young Claudio create a touching brother-sister relationship as Isabella prepares her brother for death to save her own chastity.
It is clear what director James Tobias intended with his Measure for Measure, and the underground, burlesque-inspired world of the brothels is visually striking, nicely executed and the sound design fits the action beautifully. However some scenes still feel a little rehearsed and not as free and vulnerable as they could be. That said, I must say that Tobias has handled the ending of the play beautifully, with Brian Merry’s great and troubled Duke extending his hand to Isabella, both pleading and demanding her love, with Isabella silenced but with a shocked and defiant look in her eyes as blackout cuts us off.
It’s a show with great potential, and though there are loose ends no show is perfect and it is a pleasure seeing a less-performed Shakespeare comedy for a change.
Measure for Measure is playing at the Brockley Jack until 20 July. For more information and tickets see the Brockley Jack Studio Theatre website.