Review: 'Measure for Measure'

by Kate Bull,

Shakespeare is the theatre of the people. Whether or not the adapter had that in mind when he began to tackle ‘Measure for Measure’ for the Barn was another matter.

The first ‘act’ was a 25 minute window to view artwork the Barn had loaned or purchased, which reflected the themes of the play. Fine, you’d argue. I see what he’s trying to do here. Combining the aesthetic with the theatrical, all that theatre theory which an ill-educated pleb like myself doesn’t quite understand. However, there was a little voice piping-up inside my head that squealed: “if I’d wanted to see art, I would have gone to the f***ing Norman Rae Gallery.”

Despite this, the art was thought provoking. Time and effort had evidently been invested into finding pieces that brought out certain issues in Shakespeare’s tragi-comedy. And, time and effort was given by the audience to look at, and absorb, the art. The allotted time of 25 minutes was perhaps too long, but then again, perhaps I don’t appreciate art properly. Or maybe I was impatient to see some theatre.

The second act began with four uniformed actors. The heavily stripped back script and the tightly choreographed movement combined to make it completely different to any other adaption of this play I have ever seen. Supposedly, the adaption was focused on the issue faced by Isabella – whether to sacrifice what she sees as her eternal soul for her brother’s corporeal life. I am not sure as to whether this came across – the audience perhaps was too involved in following the turbulent mixture of Shakespeare’s lines, the ad-libbing and the hilarious and successful puns that made up the hour long act.

No particular actor stood out as a performer – the four were given opportunities of monologues and they all shone brightly. Alone under a spot light in a completely black set, the engagement and emotion shown by the actors was impressive, and deserves congratulation. Gender roles and those of authority were passed between them with grace and ease, adding to the disturbing, ever changing nature of the adaptation.

Set and tech were very effective – the use of a projector screen mid way through the act, inventive. Contrasts – seen in the grey uniforms and the completely black set were startling. Most of all, after a particularly dimly lit scene in a courtroom, the house strip lights came on, causing gasps and moans of discomfort from the actors and audience alike.

Overall, it was an interesting way to spend a Friday evening. An ambitious adaptation and direction that proved very successful. Perhaps the nuances were lost on me – that’s what 8 hours in the library does to you. Perhaps, like Globe groundlings in the seventeenth century, I wanted to come and see some theatre that I could laugh at, relate to; some theatre that would let me relax and switch off. But, that said, it was an impressive performance of an interesting script. My ideas of what Shakespeare should be, however, are just different.

CAST:

Fran Isherwood

Helena Clark

Claire Curtis-Ward

Freddy Elleston

Hear our full audio review of the production on YorWorld on the ((URY PLAYER)) here.