Modern Shakespearian drama, as seen by Jessica Harris.
Simmering with fury, this brilliant political drama has as much to say about the hypocrisy of contemporary times, particularly concerning sexual behaviour, as it does about Shakespeare’s time. The RSC’s adaptation of Measure for Measure homes in on those in positions of power, aiming invectives at those who abuse their authority, and exposing the position of women who are often the victims of their behaviour. Its denunciation is razor-sharp and its delivery is crisp and clear. Meanwhile, the audience is swept in, as characters break the fourth wall to speak directly to us, asking us to reflect on own selves.
Back projections of politicians set a marker for the themes from the outset. Images of Clinton, Johnson, Hancock and others remind us of the sexual misdemeanours so commonplace in current political life. There is a type here – a type whose traits are played out through the character of Angelo, Deputy to the Duke of Vienna. The words he uses speak of high standards and moral purity. But beneath them is an underbelly of authoritarianism. When temptation comes his way in the form of Isabella, pleading for the life of her brother, Claudio, whom Angelo has sentenced to death for fornication, his double standards emerge.
Religious leaders are also in the line of fire. Friar Peter has few qualms in swapping one woman for another to provide Angelo with the sexual conquest he seeks. Nor does he have any compunction in serving up the corpse of a dead prisoner, in the pretence that it is Claudio’s executed body. Then there are those whose role is to act as an apologist for tyranny: the Provost, keeper of the prison, maintains the status quo by carrying out Angelo’s orders, however unjust these may be.
Beneath it all runs a dark humour in which the powerful exploit the naivety of those like Isabella. The chance to laugh brings release from the tension but also emphasises the horror of events. It is hardly a surprise to hear Angelo ask: “Is this her fault or mine? The tempter or the tempted, who sins most, ha?”.
The character of Mariana, Angelo’s former fiancée, whom he dumped when she lost her dowry, is illustrative of the vulnerability of women in the face of such power. So, too, is her instruction of Isabella to go along with men’s demands to get the best out of things.
The tone of the production alternates knowingly between the toe-curling and the chilling, from the sinister to the shocking. It is reinforced by a set which is ominous in its austerity, where a glass cage descends to form Claudio’s prison cell, and where the set is lit through clinical-looking suspended ceiling panels.
Amongst a strong cast, Tom Mothersdale’s performance as Angelo stands out, his facial muscles doing much of the heavy lifting in showing his deceit. So too does Isis Hainsworth’s delivery of Isabella, capturing both the youthful innocence of the character and a sense of horror at the unfolding events. Douggie McMeekin plays Lucio as a lad about town, bringing humour and warmth to the role.
The production was directed by Emily Burns. Set and costume design was by Frankie Bradshaw and the lighting designer was Joshua Pharo.
On at the RSC in Stratford until 25th October, this is definitely a production to add to your calendar. For further information visit rsc.org.uk
Pics © Helen Murray.
