Synopsis When the Duke of Vienna appoints a Deputy, Angelo, to administer the city on his behalf while he travels abroad, he does not foresee Angelo's near-fanatical observation of the letter of the law. The first victim of the new regime is Claudio, a young nobleman who has made his fiancee pregnant, an offence punishable by death. His cause is put forward by a number of citizens who beg on his behalf for mercy, but Angelo, declaring that he is ready to be judged by the same high standards that he expects from others, insists that justice can allow no exceptions. That is, however, until he meets Isabella, Claudio's virtuous sister. The seemingly moral Angelo offers her brother's life in return for her virginity, but when she agrees, Angelo breaks his promise to free Claudio.
What a difference a mile down the riverbank makes. Last month, the National Theatre gave us an exceptionally dark Measure, which examined every facet of sexual power and desire.
In this, the last play in its 'star-crossed lovers' season, the Globe's touch is considerably lighter. John Dove's production makes much use of dance, sometimes bizarrely as when Claudio dances in chains and sometimes movingly, as when Isabella accepts the Duke's hand at the end.
One of the key questions in any production of this play is how much of a political intriguer the Duke is. Does he set in motion the course of the events, or is he caught up in the flow? Or is he somewhere in-between? There's no equivocation in Dove's version The Duke is not an arch-manipulator but someone quite retiring. Mark Rylance plays him as a vague, vacillating bumbler: someone, certainly, too weak for the cares of office. It's not too hard to imagine him as someone prepared to abdicate rather than take hard decisions.
Another key question is how much does Isabella know of the effect that she has on Angelo? This after all, is a woman who has spent her time in the company of nuns, scarcely prepared for the wickedness of this dissolute Vienna. Sophie Thompson is suitably outraged, this is a woman who has no idea of the sexual impulses that she inspires in Angelo. She has the air of the convent around her, she even finds it hard to say the word "virginity", lowering her voice when talking to Claudio. It's easy to make Isabella a strait-laced prig, but Thompson does make her seem very human.
I like Liam Brennan's very Scottish Angelo too. Just as English-accented actors seem to perpetually cast as villains in Hollywood films, if you want to convey moral rectitude with a splash of hypocrisy, go north of the border. Brennan doesn't overplay the role though; while his coldness is such that one can almost believe that is 'urine is of congealed ice', there are glimpses of the human underneath.
Some of the smaller roles are well handled too. There's a nicely judged Lucio from Colin Hurley, the perfect bland of fantasist, gossip and mischief-maker and Alex Hassell's Claudio is more sympathetic than is usual. I should also give full marks for the diction, the Globe is an unforgiving environment but every word is clear.
This is by far the best of the Globe's productions this year, the previous two were disappointing, this is something of a return to form. Perhaps it's a bit too light a touch and one yearns for some examination of the darker themes but it's well acted, well spoken and lovingly staged. Who could want for more?
A Travesty. At the talkback a benighted member of the audience said that they hadn't realised Shaspeare was such good fun. It was too much fun for MforM. That Egomaniac Mark Rylance playing the Duke for laughs and milking the audience with more double entendres than exist in "A funny thing happened on the way to the forum" and certainly more than any scholar has found in the tecxt, made my blood boil.
The rest of the cast, poor mutts, were superb, if anyone could notice with Rylances capers and contortions. - USER: Whatsonstage.com (193.118.206.221)
31 Aug 04
Competant, but uninspiring. Some good performances from the Duke and Angelo, although Rylance demands almost all of the comic attention, and the Lucio and Pompey parts fail to meet this comic competition to the detriment of the production. I remain at a complete loss to explain Isabella's effect on either Angelo or later the Duke. A four star turn from Rylance, let down by the rest who are simply unispiring and fail to explore any of the darker issues the play presents. Indeed, I cannot remember the last time so many laughs were associated with telling people they are going to die. Disappointing. rl - USER: Whatsonstage.com (62.252.192.12)
21 Aug 04
Measure for Measure at the Globe delivers neither moral complexity nor comic energy. The production is flat and unimaginative, owing primarily to Mark Rylance's bumbling, stuttering Duke/Friar who never conveys a smidgen of the ambivalence and ambiguity of the Duke. The woman who plays Isabella exudes none of the repressed sexuality required to complicate our response to Angelo's repugnant advances. The director appears to very little about the play's nasty, dark side. Instead, he seems more concerned that the audience clap to the happy dance and jig at the end. - USER: Whatsonstage.com (24.71.223.141)
19 Jul 04
A wonderful production of this dark comedy. Mark Rylance's eccentric performance brings out every drop of much-needed humor and humanity in a character that can otherwise come across as a benevolent sadist. - USER: Whatsonstage.com (12.107.15.2)
14 Jul 04
Okay, some folk might think I am being a tad generous with the stars but this is the high point of the Globe's season in 2004. Although not quite alongside Twelfth Night at the same venue 2 years ago (and the sumptuous and triumphant revival last year), this is a well spoken, (apart from a few rushed speeches which will settle down as the season progresses) visually stunning production.
Mark Rylance plays the eponymous Duke (here christened Vicentio (does it say anywhere in the text that this is his name?)) who abdicates his power and rule to Angelo (arguably the more interestingly complex character), played here by Liam Brennan with still cold reserve, till seduced by Isabella's voice (and he thinks body) of Sophie Thompson.Brennan brings the watchful gaze and stance of the outsider to the proceedings. At first he is a bureaucrat quiet and uneffacing, genuinely puzzled by his reaction to Isabella - By the time he presents his horrific ultimatum to Isabella, he is as horrified at himself as the audience but there is something touching and moving at his pardon by the Duke - you get the sense that he is not all bad and there was a papable feeling of relief amongst the groundlings that he would not be executed.
There are echoes of last year's wonderful Richard II in the scenes with Rylance's strutting powdered vain and difficult Duke - unusually in this "problem play" the scenes are played for laughs. As the Friar, Rylance is alternatively gripped with panic as his plans don't quite work out (Barnadine's refusal to be beheaded), his reaction to Ragozine's headed being produced (so conveniently ) by Patrick Brennan's kindly and symapathetic Provost. Peter Shorey is a delightful raddled old bag, long past her sell-by date but still delighting and delighting in the company of the young turks and foolish fops that frequent her bawdy house.
This production is inevitably going to be compared with the National's (which admittdly I have yet to see). Here, the Globe is staging Measure in "Original practices" ie painstakingly researched music, dress, manners of 17th century Vienna to stunning results - the costumes and hangings are wonders, predominately cream, beige, black and gold
A huge round of applause to the energetic and enthusiam of the company and a plea to the critics - don't knock the Globe 'Measure' till you've tried it! It is a fab production, popular and fascinating! - USER: Whatsonstage.com (213.48.249.52)
A rebuild of Shakespeare's original Globe theatre close to the original site. Society of London Theatre member. Note: Booking opened March 3rd 1996. Tickets for performances range from £5 (standing in the yard) to £37.50 for the best gallery seats). Induction loop facilities. Wheelchair facilities. Extensive education programme. Restaurant, cafe and bar. Dark during the winter but the museum and venue remain open. One of the few London venues with Sunday performances. The Globe Theatre Season runs from April to October. The Globe Education Centre is located in Park Street and runs an educational autumn season.
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