Photo by John TramperFor the first time
since its triumphant production of Twelfth
two seasons ago, Shakespeares Globe Theatre of London is back at UCLA
with a must-see staging of Measure for Measure
that wanders into a modern
interpretation, despite the companys trademark respect for tradition.
Mark Rylance, the Globes artistic director and star, plays Duke Vincentio in an enchanting, chin-scratching, befuddled interpretation that has words slipping from speeches like sardines through a hole in a net, that is until Rylance gazes up and finds the wherewithal to adjust the netting and pull the speech back together. And so the man is engaged in a constant struggle to finish his sentences, as though caught in the crossfire between lucidity and oblivion. The performance is so marbled with humor and pathos, it turns Duke Vincentio into the plays central character, rather than the dukes demonic deputy, Angelo played by Liam Brennan with the monochromatic, steely resolve of some Scottish Calvinist.At plays start, the duke expresses concern that hes allowed immorality to push too far beyond the laws regulating it. To solve the problem, he announces his departure from Vienna, turning over the reins of power to stern Angelo, whose first act as moral enforcer is to order the execution of one Claudio (David Sturzaker) for fornicating out of wedlock. (This crime, or sin, is one that Angelo had also committed.) By our standards, and probably Elizabethan standards as well (given the plays sympathies), Angelos order to hang Claudio is excessive, particularly since Claudio is so devoted to his pregnant girlfriend (David Hartley all roles are played by men, as in Elizabethan tradition), as is she to him. And the only reason they havent yet wed has to do with a dowry.
To read Steven Leigh Morris' accompanying
story "Who's That Bard?"
Compounding Angelos hypocrisy is his sexual harassment of Claudios sister, Isabella (Edward Hogg) a nun, no less with whom he barters to exchange her sexual favors for Claudios freedom. Meanwhile, Duke Vincentio observes his deputys shenanigans while disguised as a friar and, as that friar, intervenes to set wrongs right. The play is a comedy, albeit a macabre and often terrifying one, and the clash of styles between the macabre, the farce and the fury at Angelos spiteful duplicity render Measure for Measure
a more than 400-year-old headache for any self-respecting director. John Dove, here named Master of Play in the companys original practices nomenclature (the directing profession wasnt legitimated in the 16th century), sets a giddy tone early: Along with the vivacious live musical accompaniment on period instruments and Jennifer Tiramanis ravishing Elizabethan costumes, the shackled prisoner Claudio enters doing a jig with his guards. That doesnt solve the problem of clashing styles, but it does at least temper how the unfolding horrors of Angelos Richard III
tyranny melt into the kind of happy resolution that recalls A Midsummer Nights Dream.
Amid exquisite craftsmanship, the productions most notable aspect is its stateliness, despite flourishes of levity. In the 90-minute first half, I didnt see anybody running. (Later, with the threat of heads rolling, Dove allowed a few mad dashes across the stage.) In the scenes where Hoggs stoic Isabella, all rectitude and ice, implored Angelo for her brothers life, the conflict was like that between two cougars slowly circling, spines erect, softly hissing at each other with eloquent speeches. Hanging above them were a hundred flickering flames from half a dozen chandeliers. I imagined, for a moment, that I was in church, or heaven.
I dont know
what this play means to the British in the 21st
century beyond some generalized cautionary tale of zealous piety, but here it
speaks to a considerably more literal, American circumstance. No, its not about
the hypocrisy of war-dodging leaders sending other peoples children into battle
on the cheap, then crowing about patriotism. Angelos hypocrisy is more specific
that of executing a man for a crime that Angelo himself had committed.
Weve seen waves of such twisted malice both in the White House and across the nation, committed by the so-called gay Republican mafia, who vociferously oppose civil rights for gay people, which includes: Armstrong Williams, the syndicated gay-bashing columnist, and former CNN contributor, who was forced to settle a gay sex harassment suit for an undisclosed sum; San Gabriel Valley Congressman David Dreier, who votes consistently against gay rights; Jeff Guckert, a.k.a. James Gannon, the bogus journalist and gay prostitute who trumpeted the White House agenda; and now, bringing back memories of Roy Cohn, speculation is swirling around Ken Mehlman, chairman of the Republican National Committee who ran George W. Bushs 2004 election campaign on an anti-gay platform, and Karl Rove, who, if you believe the Internet chatter, was recently sighted entering a leather boys orgy at a five-star Washington, D.C., hotel.With no motive other than historical veracity, Doves production hits this nail on the head: Heres brooding Angelo fondling Isabella-in-drag under the cloak of authority, while her brothers life hangs in the balance. Maybe its just the sight of all those men with power wearing billowy black pantaloons. On Angelos, white devils pitchforks are stitched into the sides. You can see them in the scene before he gets caught and sentenced.Rove should have such luck.
MEASURE FOR MEASURE
by WILLIAM SHAKESPEARE | Presented by SHAKESPEARES
GLOBE THEATRE OF LONDON
UCLA LIVE INTERNATIONAL THEATER FESTIVAL
| At UCLA, FREUD PLAYHOUSE | Thru Nov. 26 | (310) 825-2101 or www.uclalive.org
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