Date Reviewed: 17th October, 2008
Venue: Oldham Coliseum

Shakespeare’s Measure for Measure ends with the virtuous nun Isabella receiving a marriage proposal from the Duke Vincentio. Isabella makes no reply, her silence open to interpretation – though most productions generally favour acceptance. Beyond Measure, a collaboration between Back & Forth and York Theatre Royal continues the story, beginning with Isabella preparing to take her marriage vows.

A happy ending isn’t on the cards. Kept virtual prisoner in a white walled nunnery, Isabella is tormented by patriarchal expectations. Vincentio sends her expensive gifts and florid love letters though shows little respect for his future wife’s feelings. ‘It is not love but obligation that puts my hand in his’, she says. She views marriage as equivalent to ’10,000 nightly deaths.’

The spectre of corrupt governor Angelo – represented by a series of enigmatic projections – haunts her dreams, tempting her with feelings she doesn’t fully understand. Then a basket arrives containing her errant brother’s baby; Isabella feels an instant bond but the ties of surrogate motherhood are simply another distraction from her righteous, proper course. Can she ever be true to herself?   

Writer Bridget Foreman effortlessly channels Shakespeare’s original sensibilities, creating a script rich with charged, modern poetry: Images of rotten fruit are projected, described as ‘fly blown with over ripeness.’ Foreman is particularly good at essaying Isabella’s inner turmoil; ‘My spirit is like a tiger on a chain’, she says at one point. Awareness of the original text is not necessary; Beyond Measure succeeds as a stand-alone piece.

Director Juliet Forster creates a suitably oppressive atmosphere, and the themes of female bondage are presented clearly and with subtlety. Ruth Tyson-Jones’ movement choreography and the shadowy ambient music of Craig Vear (co-founder of the excellent group Cousteau) add effective dimensions.

What elevates this production into the five star category is the outstanding performance of Rina Mahoney. Why isn’t she famous? Whether wrestling with vague maternal yearnings, or purging her desires with bursts of floor scrubbing and self flagellation, she is never less than mesmerizing.

Come December, critics’ thoughts turn to the traditional ‘End of Year’ list. It would be a pity if Beyond Measure – traversing the country on a low key tour – slipped under the radar: In its own small way, it’s as perfectly constructed as a Faberge egg. This is a production to restore ones faith in the power and beauty of theatre.

- Steve Timms

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