On its Web site, UCLA Live originally advertised the Globe
Theatre’s performance of Shakespeare’s “Measure
for Measure” as a “lighthearted comedy.” When
UCLA Live Artistic Director David Sefton became aware of this
posting, he immediately requested that it be removed, stating that
“Measure for Measure’s” controversial material
and loose ends make it far more problematic than lighthearted.
But it stands as a true testament to the Globe’s skill
that performers were able to transform Shakespeare’s
contradictory and often puzzling manuscript into exactly that
““ a lighthearted and thoroughly engaging comedic
production.
Returning after its extraordinarily successful, sold-out stint
at UCLA Live two years ago performing Shakespeare’s
“Twelfth Night,” the Globe is back with a darker, yet
similarly entertaining play, which will be performed at the Freud
Playhouse through Nov. 26.
“Measure for Measure” chronicles the story of the
Duke of Vienna and his desire to leave his office and its
responsibilities. He abruptly hands over his rule to the young,
stern clerk Angelo, who proceeds to abuse his power by casting
mostly innocent men into prison and allowing other, far more
nefarious schemers to roam the streets. The duke comes back to
Vienna in disguise, recognizes his mistake in choosing Angelo to
rule, and subsequently attempts to right the wrongs that Angelo has
performed, doling out justice “measure for
measure.”
Each actor shines in his individual role, but Globe artistic
director Mark Rylance’s portrayal of the duke is brilliant.
He glosses over the contradictions of the role and the abrupt
shifts in the duke’s character, creating a duke who is
indecisive and unsure of his actions. Rylance makes particularly
skillful use of the pregnant pause, oftentimes in the middle of a
line, causing the inconsistencies in his following statements to
become even more amusing.
But the experience of watching the Globe perform extends far
beyond the acting itself.
The Globe prides itself on its “original practice”
philosophy, meaning it keeps performances as close as possible to
their original production formats. In the case of
Shakespeare’s “Measure for Measure,” that means
featuring an all-male cast portraying both male and female roles,
wearing traditional renaissance clothing.
The actors even put on their costumes and make-up onstage in
front of early arrivals before the show starts, creating an
intimate and collaborative atmosphere with the audience right from
the beginning.
Yet the level of intimacy does not quite measure up to the
Globe’s performance of “Twelfth Night,” mainly
due to the difference between the two plays’ staging
arrangements.
For “Twelfth Night,” the Globe constructed a thrust
stage (a setup in which the actors are surrounded by audience
members on three sides) at the Freud that was very similar to the
Globe Theatre itself. As a result, no audience member had a bad
seat. With “Measure for Measure,” however, the Globe
instead utilized the venue’s existing proscenium stage (think
Royce Hall), adding only a few rows of seats on both sides of the
stage.
Despite this disappointment, the Globe reaches out to the
audience in other ways, most notably through music and dance. Not
only were actors dressed in traditional garb, the production also
featured musicians playing traditional renaissance instruments at
the beginning and end of each half, as well as at strategic moments
throughout the play. The Globe actors themselves even opened and
closed the play with a traditional Elizabethan dance.
The Globe’s attention to musical detail in addition to the
showcasing of its superior craft enhanced the entire production,
essentially transporting the audience back in time and creating an
experience that few viewers will soon forget.
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