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Measure for Measure (A co-production between the National Theatre and Complicite) Measure for Measure is one of Shakespeares' more convoluted pieces that many suggest is a play that dosen't know what it is. Often catagorised as a comedy its ultimately dark message is far from that, despite the array of highly colourful characters and bizarre situations. Characters include Lucio (Ajay Naidu) a "fantastic gentleman", Pompey (Richard Katz) - a half naked, clowning pimp, Mistress Overdone (Tamzin Griffin) a Pat-Butcher-meets-George-Best brothel owner and my favourite Bernadine (Johannes Flaschberger) a German accented prisoner who stumbles about drunk and violent, like a Teutonic Oli Reed, calling everyone a "shizer".
Set in a slightly Orwellian Austria, the Duke Vincentino (played by director Simon McBurney) decides to go on vacation leaving his pious neo-con deputy, Angelo (Angus Wright) in control. Angelo is disgusted by the depravity of the common man and decides to restore old laws about sexual conduct. His first victim is Claudio, a young man who has managed to impregnate his fiance ahead of the wedding. Condemned to death he has to rely on the efforts of his sister Isabella, who just so happens is about to become a nun. She begs Angelo for her brother's life and in true public-school-vicar style he says he will only do so in return for some hot nun action. She returns to her brother disgusted by the offer, who promptly says she should just get on with it. Meanwhile the crafty Duke—who has in fact been wandering around disguised as a monk to check up on everyone—gets word of this and forms a plan. He suggests Isabella accepts the offer but in her place they will send another woman Marina, a previous girlfriend of Angelo's. The plan succeeds but still Claudio is ordered to die and the Duke reveals himself and all hell breaks loose.
Many attempts to bring Shakespeare into the modern day have met with mixed reviews. Some like it, but many don't as the clash of different time periods make themselves uncomfortably aware. However Simon McBurney's production has successfully married the otherworldly experience of different centuries colliding and added his own little inflections to the script to keep it very fresh and pertinent. McBurney's skills shine through as he stars in it, directs it and even writes the theme tune. Well maybe not, but I wouldn't put it past him. The result is very contemporary: the prisoners are dressed in full Guantanamo outfits, and at one point the entire cast chants "Sanctimonious Pirate" at images of George Bush... There is plenty of sex, death, corruption and unexpected twists, and the "comedy" is actually funny, not always true of Shakespeare's output.
This is a production about the abuse of power and how it corrupts at every level. Characters are lifted and dropped in status and McBurney's Duke—initially introduced as an ageing relic with dark glasses and cane but ending up as a grandiose dictator in full military attire—is one example of how individuals' psyches are explored whilst reflecting the nature of this rogue state. I was less convinced by Angus Wright 's Angelo at times, however his self mutilation scene was one of the most powerful in the production and his own surprise at his sexual arousal was a nice touch.
Stage design in theatre is fraught with complications. Adding a load of technology to the performance can be highly risky as it can break down and requires extra work on behalf of the technicians to integrate it with the acting. Complicite are not afraid to use it and as this performance opens we are thrust from a cold rainy street, straight into a modern day brothel with full sleazy disco lighting, multi-screen porn, lit up floors and dark pumping techno, all sequenced without missing a beat. The ability to jump seamlessly from one scene to another at breakneck speed is so well rehearsed that it deserves appraisal in its own right. Tom Pye's production design is used to great effect allowing several locations to co-exist on one stage, combined with CCTV cameras and monitors to create a surprisingly minimal feel. I'm usually pretty good at spotting little flaws and glitches in set designs, but Complicite's Measure for Measure didn't reveal a single wrong foot even slightly off cue even during the manic door slamming in the jail scenes.
This particular production has just finished a world tour and is a re-run from Complicite's original performance in 2004. The theatre group always manage to impress (describing themselves as a "state of mind" on their nifty website) and you should try and book tickets for their next shows. You wont be disappointed.
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