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ASU's modern Shakespeare 'measures' up

By Jessica Wolf

State Press Magazine

The problem most people have with Shakespeare is that they try to read it.

The man was a playwright. His words were written with the intent that they be given life by human voices.

And there is so much wit in Shakespeare. Wit that gets buried somewhere between the beautiful-yet-antiquated language and the ink and papyrus of a book's lifeless pages. Wit that must have life breathed into it by talented actors-- wit that must be "fleshed out" so to speak

This is a concept on which the ASU theater department has a very firm grasp -- if this month's contemporary version of Shakespeare's Measure for Measure is any indication.

They've skillfully and successfully removed the characters and story line from the original setting in 17th century Vienna and placed it in modern day New Orleans.

Elaborate costumes and beautiful, well-staged scenery, as well as contemporary music, dances and themes are intertwined into this tale of a decadent city. The leader, Duke Vincento, leaves the community in the hands of a less-than-merciful, power-hungry cousin whose strict adherence to the law allows him to punish people for committing offences against statues that have long fallen into abeyance.

Angelo begins to enforce the laws in place against brothels, pimps and bawds. He also decides it is time to begin punishing people of the opposite sex for living together and subsequent out-of-wedlock procreation.

It's a preposterous charge, most of the community and the viewer will agree, and is a law that many have gone unpunished for breaking over the years. But, heady with his newly-granted power, Angelo decides to make an example of a young man named Claudio and sentences him to death for impregnating his intended wife, Juliet.

Only vast amounts of conniving by Claudio's virtuous and chaste sister, Isabella and the Duke himself -- who never really left town, but stayed behind to see what would happen to his government in his supposed absence -- save Claudio from his fate. In the guise of a priest, Vincento, in the convoluted manner only Shakespeare could propose, brings to light and corrects the unmerciful acts of Angelo.

Greg London is quite good as the duplicitous duke. He is entirely believable as the generous and kindly leader of the community and when he dons his friarly apparel to conceal his identity, comes across as the perfect mix between a caring catholic priest and a tel-evangalist. Maybe that's due to the Louisiana accent that London and the rest of the cast have obtained for their roles. They do an excellent job with this and are very consistent throughout the play. It really supports the attempt to place this story in a modern setting and surprisingly enough also seems to enhance the Shakespearean language.

The themes of the play are timeless, which is perhaps one reason why it is believable in today's setting. On stage and in real life we often encounter the dilemma of justice versus mercy and are befuddled at the hypocrisy of government officials. (They've added a nice little contemporary allusion with regard to this...so pay attention in the final scenes.)

Without giving anything away, there is also an interesting dynamic to this production's characterization of Angelo. It is one that is readily apparent at his first stage appearance and is something that forces the viewer to think a little bit differently about the motivation behind this character's actions. Will Hare is excellent in his role as the double-talking Angelo.

Lindsay Anderson stands out as Isabella and Carmen Meyers as brothel-owner Mistress Overdone and Ben Fritz as Lucio, friend to the condemned Claudio are scene-stealers. But the entire cast has an extremely firm grasp on the subject, language and message of this play and have turned out an extremely intriguing, engaging performance.

And in true classic Shakespearean theatre fashion the whole troupe sticks around for a little dancing at curtain call -- to jazzy, infectious Cajun music.

If you are a Shakespeare-lover, you will appreciate the subtle nuances of this particular production of Measure for Measure and the novice will find this a great foray into the bard's work. Definitely worth seeing.

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