‘Measure for Measure’

Press, 21 October 1987, Page 8

‘Measure for Measure’

“Measure far Measure” by William Shakespeare, directed by Dang Clarke for the Elmwood Players. At the Elmwood Playin—e, Fulton Avenue, October 29 to 24, and 28 to X, 8 pjn. to 19.29 p.m. Reviewed by Elody Rathgea. “Measure for Measure” chosen by the Elmwood Players for their first Shakespearian production, is rightly regarded as one of the Elizabethan bard’s most problematic plays. Although it qualifies technically as one of his comedies it is pervaded by an atmosphere of despair and corruption to the point that getting on with ordinary living almost becomes impossible. Issues of justice and authority are said to be the main themes of the the only crimes are taken seriously are “sexual.” The murderer by contrast is not BCrktirrly considered and to, In the end, freed. ceynaMty is the main crim* of the play whether it lir committed or only in Ambiguous attitudes — -"S*

tying this. Using disguise and manipulation he sets up the action and awaits the results. In doing so however, he inevitably compromises his standards. David Shine in the role is one of the few of the leading characters who manages to make sense of the text But his delivery fails to rise sufficiently to demand the attention it deserves. The women characters must be chaste and constant or else they are whores who seem to deserve to lose any human rights. In fact they must be saintly. Modem audiences find the main example of this in the play, Isabella, hard to accept Her statement that “more than our brother is our chastity” seems unmercifully harsh. She should be a strong, intellectually passionate character but lacking warmth. Christina Stachurski fails to create the difficult role convincingly. On this character unfortunately hangs much of .the credibility and power of the play. If we are unable to appreciate her dilemma we fail to understand the central issues of the play. There are comic scenes

and bawdy characters in the play, but even their dialogue is far from lighthearted. Many of the jokes are about sexual diseases rather than the bantering of characters in other Shakespearian comedies. It is in some of these scenes that the production comes briefly to life. Greg Lovatt and Mike Maxwell as Pompey and Elbow contribute in confident style to the energy and seem to handle the text quite well. Among the rest of the large cast most fail to capture attention or seem to understand the play. Exceptions to this would be Michael Hodgson, as Provost, and Liz Weir, as Mariana. There are a number of other unsatisfactory aspects of this production including some insensitive cutting of text A rather odd choice of theme music, very indistinct lighting, some inappropriately comic make-up and awkward costumes all contribute to a disappointing production. It is a pity that such a brave choice of an important Shakespearian play has hot received the treating it deserves.