by William Shakespeare
"To whom should I complain? Who would believe me?"
A young girl, confused about her sexuality, seeks refuge from a world of pimps, people-traffickers, and drug-dealers, while her brother is sentenced to death for getting his girlfriend pregnant. Should she prostitute herself to a corrupt judge, or let her brother die?
Rescue appears to come from a stranger, but can Isabel trust this woman, who seems to know everyone and everything? Or does she have her own agenda?
All set against a background of not-so-lovable rogues, comically inept police, and an institutionally biased justice system -sound familiar? #Me Too
Contains adult themes
CAST
Pompey, confetti monitor
Alison Hope
Froth, Kate Keepsdown, Prisoner
Ali Lit
Elbow, Prisoner
Anthony Burrows
Juliet, Rev Mother, Prisoner
Aoife O'Neill
Escalus, Bernardine, Prisoner
Charles Moss
Angelo
Chris Sims
Mistress Overdone
Dolores Anass
Provost
David Dunford
Claudio
Gavin Gordon
Lucio, Newscaster
Jake Turner
Duke Vincentia
Sarah Burgin
Mariana, Servant, Prisoner
Sarah Godwin
Isabel
Summaya Mughal
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"Measure For Measure" by William Shakespeare
Nottingham Lace Market Theatre
It doesn't make any difference how old a script or piece of theatre is, if it still resonates, then it's still relevant. Shakespeare's words have transcended the centuries showing that maybe we haven't moved on that far in four hundred years. That relevance is shown here with this production of the problem play that is packed with morality and virtue.
Set in Vienna, which at the time is teeming with brothels and loose morality, Duke Vincentia doesn't want to use her authority to clean up the city. She departs, in disguise, leaving her deputy, Angelo, in charge. Angelo is at first reluctant, but he soon starts to make changes. One particular law that Angelo re-instates results in bad news for Claudio. Only Claudio's sister, Isabella, a nun, has the chance to save her brother from death, but is she willing to do what Claudio asks of her?
Anyone who knows this story will know the answer, of course, but for those who don't, I don't want to give away too much, or reveal any twist in the plot.
The cast were Alison Hope (Pompey), Ali Lit (Froth/Kate Keepdown), Anthony Burrows (Elbow), Aoife O'Neill (Juliet/Reverand Mother), Charles Moss (Escalus/Bernadine), Chris Sims (Angelo), Dolores Anass (get it?) (Mistress Overdone), David Dunford (Provost), Gavin Gordon (Claudio), Jake Turner (Lucio/Newscaster), Sarah Burgin (Duke Vincentia), Sarah Godwin (Mariana/Servant), Russell Lawrenson (Uncle Russell) and Summaya Mughal (Isabel).
There's just the right amount of comedy to lift the play which in itself served to highlight the brilliantly powerful, and very natural performances by Summaya and Gavin, although I did smile when Claudio was brought on swathed in a local football team's scarf.
It also showed me just what a slimeball Chris, as Angelo could be with his manipulation and bullying tactics with Isabel, and Alison's comic talents. There was also, for me anyway, an incite as to how Rik Mayall may have performed as Lucio with Jake Turner.
Sarah Burgin as The Duke, and a nice twist to make this character a woman, which also tied in nicely with her disguise, was excellent.
There was more than just a touch of localisation here with images of the Council House and some images of Nottingham streets, showing that what happens in the story can happen anywhere in the world, in any timeline.
Directed by Hazel Salisbury and Laurie Owen who have identified the connection to today's social issues within this script and have brought this four hundred year old story up to date, but without losing any of the magic of the Bard's original sparkle. I loved the use of social media to spread the word of what was happening throughout, with images of mobile phone tweets with headlines that could have been lifted from tabloids like The Sun, my favourite borrowing from an 80's film title starring Jim Carrey and Jeff Daniels.
The action was not confined just to the stage but used the whole auditorium for exits and entrances, all the while keeping you on your toes.
Lighting Design is by Allan Green and Sound Design by Matthew Allcock. Matthew also is responsible for all of the marvellous projection work that you can see throughout, changing the set and scenes with just a touch of a button, or fader, or however the magic works. The design for the projection was by Laurie Owen.
The Set designer is Steve Musson, and before the play started properly, I commented on what a good design it was. Add to the smart design the projections and the stage came alive. The design also included the covert surveillance system used for spying on the characters.
From the off we were made aware of the modern feel of the play as smart modern suits were worn, showing authority. While everyone was filing in and taking their seats, the stage looked like a standard Saturday night in Nottingham City Centre complete with revellers, drunks and beggars.
Creating even more realism were the various props that were used, sourced by Lesley Brown and Russell Lawrenson, who as well as being on stage, was Assistant Stage Manager as well.
I'm currently three quarters through reading "Measure For Measure" for pleasure, but coincided well with this performance, and much as I love reading, this play created more enjoyment for me due to its' modern direction, and also the way it tied in with current political scandals and movements.
As the programme states, "He was not for an Age, but for All Time" and this production shows that Shakespeare's works have as much relevance today as it did when first written.
Read the original article here.
Review: Measure for Measure. The Lace Market Theatre. Nottingham
The Lace Market Theatre, an amateur venue in Nottingham’s historic Lace Market area, has a renowned history of programming some unusual and often unpredictable theatrical works and this week we are gifted with an interesting modern take on Shakespeare’s ‘dark comedy’ Measure For Measure written in 1601. They have also gone down the partial route of gender blind casting; more of which later.
So why is a play that is about control, abuse of power, sex, morality and justice (or lack thereof) called a dark comedy? Well, wise Shakespeare related internet sources helpfully proclaim thus: ‘Dark Comedy is also known as black comedy. It is a drama which believes that human beings exist in a purposeless universe where they are faced with forces which are beyond their control or understanding. It believes that morality and ethics, as well as intellectual values are meaningless, and that life is a tragic farce. A comedy has a happy ending. It has wit, humour, fun, joy, and laughter. On the other hand, a dark comedy is gloomy but can also have amusing scenes as well as wit and humour yet has an undercurrent of gloom and despair.. The comic elements in such play are pushed into the background by the tone and atmosphere of seriousness and gravity. Measure for Measure is also called a problem play and meant by Shakespeare to shock rather than to enchant. Measure for Measure is the darkest of the three dark comedies written by Shakespeare. It is the darkest in Elizabethan terms because it displays sexual promiscuity. Shakespeare’s massive sensibilities led him to explore different areas of human nature and though he did not give a solution, the choice of subject meant that he found it worth exploring.’ Let us hope that we do too as we settle into our seats whilst the pre-show action on stage depicts improvised street scenes not unlike a rowdy night populated by drunken revellers in Nottingham city centre.
The Lace Market Theatre production reflects upon our own many and varied modern sensibilities especially around the subjects of unwanted male-female sexual agitation and provocation, such as that proposed between bad boy Angelo (Chris Sims) and the novice nun Isabella (Summaya Mughal). Isabella is forced to plead for her brother Claudio’s (Gavin Gordon) death sentence by giving up her chastity and the play becomes very #Metoo as a critical tour de force. Are we still appalled by Angelo’s wicked suggestion and does bringing the play up to date, certainly through the excellent Lace Market Theatre set and costumes, help us to reach our own opinions as Angelo reminds Isabella that ‘no-one would believe her were she to report his proposal’. That all sounds so horribly current doesn’t it?
Even in this contemporary setting we still hear chilling and somewhat casual news of beheadings and executions for sex crimes. Controversially, maybe some in the audience will even side with the puritanical Lord Angelo as he has temporary rule in the Duke Vincenta’s absence. Once the Duke is allegedly off the scene Angelo starts to enforce forgotten laws. In Shakespeare’s original text the play’s set in the corrupt city of Vienna; a city and state that has become lawless and where people-traffickers, drug dealers, pimps and prostitutes thrive. In the Lace Market Theatre production the action moves to Nottingham and the various locations are suggested through some excellent projections and bursts of ‘keeping it current’ breaking news visuals as the action unfolds.
To further the challenges of the questioning of male-female morals, this Lace Market Theatre production team directed by Hazel Salisbury and Laurie Owen, have decided to cast two important roles gender blind. So we have Sarah Burgin convincing us as Duke Vincentia (feminised from Vincentio but oddly still retaining the male form title of Duke) and in a smaller role Alison Hope performs as Pompey Bum who is Mistress Overdone’s (Dolores Anass – yes it took me a while to realise that it reads as The Law Is An Ass) bar person and helps with the pimping. Pompey’s belief system is that the only way they can survive as a poor person is by turning to crime. Hope can always be relied upon to inject some light relief into any role she takes on and her Pompey strikes no bum notes in this matter. See what I hath done there?
The directors have wisely chosen to make some cuts to what can be experienced as a long show (it finishes around 10pm) and many of the arcane jokes and comical scenes that must’ve had ’em rolling in the shit and sawdust in Shakespeare’s day have been thankfully given the chop.
The quality of performance in Measure For Measure is generally well-done and swiftly paced. The principal actors, Gavin Gordon, Sarah Burgin and especially Chris Sims and Summaya Mughal are excellent in their command of William Shakespeare’s language and make their characters’ journeys affecting and comprehensible. Sims wisely eschews any thoughts of making Angelo too Machiavellian and goes for a more subtle approach. Mughal’s key speeches and acting are uniformly top class and Gordon is very moving in his depiction of the jailed and maligned brother Claudio. Burgin’s casting proves a satisfactory one and the choice of a female Duke works especially well in the scenes where she pretends to be a nun in order to survey the characters affected by Angelo’s mis-handling of the law under his tenure. The supporting cast are excellent with some cast members showing particularly interesting levels of creativity in their interpretations of the more comical roles.
Measure For Measure isn’t done very often and so, if you love your Shakespeare in modern dress and 400 year-old ideas both amoral and moral that still saturate our society and intrigue our intellects, go see this quality amateur performance.
Read the original article here.
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