Measure for Measure -- Mercy and Justice

Review of NWCTC’s Measure for Measure (7-7-2012)

Measure for Measure is not for everyone. The whole plot revolves around what can only be called “adult content.” That being said, however, Shakespeare uses this framework to explore the delicate balance between justice and mercy, much as he does in Merchant of Venice (only better, in my opinion). Shakespeare is obviously thinking back to Matthew 7:1-2, especially where it says, “by your standard of measure it will be measure to you.” Some may be disturbed that in the end Shakespeare’s plea for mercy appears to let everyone off the hook for their lewd behavior, but for me at least, the take-away was more that living according to the spirit of the law is often harder than just blindly adhering to the letter. It’s better to extend mercy and change someone’s life than to cut that life short.

Because of its subject matter, Measure for Measure must be a very difficult play to stage, and yet director Butch Flowers and his talented cast and crew did a tasteful and very good job with it. They successfully navigate around the myriad pitfalls and avoid the temptation to go overboard with the innuendos and raciness. Even the costuming, which in many plays is inappropriate with much less motivation, was modest. If you’re going to have a problem with this play, it will be with Shakespeare’s story, not with Flowers’ vision of it.

Technically the play was beautiful; sets, lighting music and costumes were all just right. Performance-wise, it was brilliant. There wasn’t a single character that didn’t sparkle. Jayson Shanafelt’s intensity and fixity of purpose made for an excellently awful Angelo. Bonnie Auguston’s Isabella was a believable novice nun in an awkward and tight spot. And Chris Porter made an great if somewhat abrupt Duke Vincentio. Joe Healy’s Provost and Nathan Crosby’s Claudio were both wonderfully sympathetic, as was Clara-Liis Hillier’s Mariana. The whole production was well-paced, and Jason Maniccia’s comic timing as Lucio was hysterical. The bits with the executioner and his apprentice had me in absolute stitches – well done, Matt Pavik and David Burnett!

As I was watching I had a hard time thinking of any way the production could be improved. But as I thought more about it and eavesdropped to the responses of the audience, I think perhaps a little more emphasis on the mercy vs. justice theme would have helped. That, however, is really the only thing I can think of that would make it even better.

Measure for Measure is a powerful play, but not one that is necessarily accessible or even appropriate for everyone. It’s lesson, however, is one that bears repeating:

“For judgment will be merciless to one who has shown no mercy; mercy triumphs over judgment” (James 2:13).

Much Ado About Surfboards

Review of Northwest Classical Theatre Company’s Much Ado About Nothing (20 April 2012)

One of the fun things about a theatre as small as the Shoebox is that the audience feels like they are actually in the setting, not just looking at it on the stage. Less than five minutes after I walked in to the palm-tree bedecked, 1960’s beach party themed theatre, I was wishing I had worn flip-flops instead of heels and a Hawaiian print instead of an LBD. (Bravo to director David Sikking for the amazing set design!)

Director David Sikking and the cast of Much Ado About Nothing certainly had fun with the setting – 1965 California beach, with surfboards, bikinis and the Beach Boys. And many things in the setting worked really well with the story. The party atmosphere that underlies Much Ado was obviously present. Don John (Orion Bradshaw) as a rebel without a cause actually makes perfect sense for one of Shakespeare’s enigmatic villains with very little motive for his actions. And the music (a mix of original songs by Stephen Alexander and classic surfer songs) made me want to sing along.

The fun, flirty dynamic between Beatrice (Melissa Whitney) and Benedick (Peter Schuyler) delighted me. Both actors made their characters’ arcs highly believable and consistent. And, as usual with Much Ado, the “eavesdropping” scenes made me laugh way too much! Benedick tried to hide behind the surfboards. And when that didn’t work, he tried to climb into the cooler, and then finally got his head stuck under one of the beach chairs. I didn’t think Beatrice’s scene could beat that, but when she hid under the beach umbrella, then collapsed it on herself, I was in stitches.

Hero (Brenan Dwyer) and Claudio (Carson Cook) made a sweet, young couple – just as they should be. Carson Cook, especially, rose to the challenge of a demanding part, and though his angst was somewhat understated, in the Shoebox it was very effective. There is a moment where we see “snapshots” of Hero and Claudio hanging out, surfing, playing games, and generally “dating.” It was priceless.

The whole production was highly physical, which had its great moments (Benedick turning around and nailing Beatrice with his surfboard, for one), but which also earned the production a PG-13 rating in my book. Don John and his minions (girls in this case, played by Clara-Liis Hillier and Jessi Walters) were too all-over-each-other for me.

The fact that Conrad and Borraccio turned into Connie and Veronica made for some awkward moments later on in the play, also… as did the fact that Clara-Liis Hillier played Connie in one scene and Margaret in the next. While Hillier is more than capable of handling multiple parts, it was unfortunate that those two parts were doubled. At least, I found it confusing… and I know the play quite well.

The setting, which worked well for many things (Gilligan meets Shakespeare?), turned out to be a complete disservice to Dogberry (Scot Carson). One would think that the part would be perfect – I mean, isn’t Dogberry a bit of a dumb surfer dude anyway? What’s the problem? The problem was that he didn’t stand out; he wasn’t that different from Benedick, Claudio, Don Pedro, Leonato, Antonio and the others. There wasn’t enough contrast, and without the contrast, the part just wasn’t as funny as it ought to have been.

Overall it was a fun experiment. I’m not positive that it was wholly successful… but it sure looked like a blast to put on!

Upcoming Shakespeare -- Updated with links to reviews

This list is for me as much as it is for anyone else. I'm trying to find a way to keep track of all the productions I want to see. People keep telling me that I should put all this in one place, so here are the upcoming productions of Shakespeare in the Portland area (at least, the ones I can find; if you know of others, please let me know!):


Cymbeline -- Portland Center Stage -- through April 8th. 
http://www.pcs.org/cymbeline/
I've already seen it once, and will see it again...
Here's my review of Cymbeline. 

Much Ado About Nothing -- Northwest Classical Theatre Company -- March 23 - April 22
My review of Much Ado can be found here.

A Midsummer Night's Dream -- University of Portland -- April 13-15, 19-21
Here's a link to my review of this production.

And then it appears there's a dearth of Shakespeare in May... but things really pick up in the summer.

Hamlet -- Portland Actors Ensemble -- June and July 2012
Here's my review.

Measure for Measure -- Northwest Classical Theatre Company -- June 22 - July 15
This is what I thought of it.

A Midsummer Night's Dream -- Post5 Theatre -- June 29 - July 20
My review is here.


Twelfth Night -- Portland Actors Ensemble -- July 21 - September 3
My review... with lots of deep, philosophical thoughts.

Much Ado About Nothing -- Willamette Shakespeare --July 28 - August 19
My review: Not Much Ado

Henry IV Part 1 -- Post5 Theatre -- August 17 - September 8
http://post5theatre.com/2012season
My Review: Princes and Theatre Groups Have to Grow Up


In November and December, Portland Center Stage is doing A Midsummer Night's Dream. http://www.pcs.org/blog/item/25th-anniversary-season-announced/

And I know there will be more announced later. :-)

NWCTC's Hamlet (5 January 2012)

How does one take what could very well be the best-known play in the English language and make it fresh and vibrant and vivid?

By sticking to the script.

Hamlet doesn’t need gimmicks. It doesn’t need innovation or concepts or rediscovery.

It needs actors who know it and love it, actors who breathe life into those incessantly quoted lines as if they were speaking them for the very first time, actors with passion and deep emotion, but who aren’t afraid of blending humor with heartache.

All this is present in Northwest Classical Theatre Company’s production of Hamlet. Director Alana Byington has assembled a wonderful cast whose generally spot-on performances reminded me of how I got sucked into Shakespeare in the first place.

Butch Flowers was brilliant as Hamlet. He was totally believable in every facet of the Prince’s complex personality. He had just the right balance between brooding and energy, and what’s more, he gave the character consistency throughout, which is saying something.

Byington peopled Elsinore with a great supporting cast, too. Glen McCumber played Horatio with gentleness, simplicity and sincerity – the perfect friend for someone in the middle of a family crisis of epic proportions.Almost as soon as Dave Bodin (playing Polonius) started talking, I knew he had nailed the part. He drove me nuts. But then, Polonius is supposed to babble on incessantly and get under everyone’s skin. Polonius is obviously a dad who identifies with and really loves his son, but has no idea what to do with his daughter. Dave Burnett and Robert Wylie as Rosencrantz and Guildenstern were delightful. The interaction between Claudius (Jason Maniccia) and Gertrude (Deanna Wells) helped explain Hamlet’s frustration at the situation he finds himself in. Chris Porter, Bibi Walton and Tom Walton did a fantastic job as the players. In fact, the whole staging of the bits with the players (the monologue when they first arrive, the “speak the speech” scene and the play within a play) was spot-on. Usually I find the players tedious… but especially the interweaving of the “speak the speech” monologue with the player (Tom Walton) “practicing” his line had me in stitches.

The only real downside for me was I couldn’t help thinking that somewhere, sometime, there has to be an Ophelia who can keep her clothes on. But I suppose it’s a tradition by now to show Ophelia’s insanity is not through her strange songs and odd fancies, but by having her lose all sense of decorum.

The pacing of the whole thing was masterful. Obviously, since the production was not four hours long, some parts were trimmed. But even though I know the play quite well, I didn’t find the missing bits distracting; I barely noticed them at all. Nowhere did the story get bogged down. The moments where things did slow down to emphasize something or let us catch our breath were earned and judiciously used.

Overall, the production was thoroughly enjoyable. To a theater geek like me, part of the fun is watching the cast operate in such a small space – which they do expertly. There’s nothing quite like live Shakespeare; and even if you’ve seen as many movie versions of Hamlet as I have, this production is still totally worth the time and money – as long as you’re the type who doesn’t mind mixing your laughter with tears, and leaving the stage covered with bodies at the end of a play.