Measure For Measure

Viennese Swirl

Measure for Measure

by William Shakespeare

Richmond Shakespeare Society at the Mary Wallace Theatre until 27^th January

Review by Brent Muirhouse

Gracing the Mary Wallace Theatre in Twickenham, Richmond Shakespeare Society’s rendition of Measure for Measure merged the prose of the Bard with a vibrant contemporary heartbeat, building a production that more than measured up to the reputation of the great man himself.

Much like the themes of modern, glossy TV series Succession or The Morning Show, Measure for Measure puts a kaleidoscope onto the emotions of the large array of characters (played by a sizeable cast of fifteen) as they navigate the intricacies of power, morality, and justice. 

In this retelling, the play is set against a backdrop of a classic hotel in Vienna, which has shades of The Savoy, with the hotel acting as a metaphorical microcosm of the city’s changing society, a Viennese swirl, if you will, with all the characters and their morals inside the hotel’s walls being reflective of much greater themes beyond them.  As ‘Hotel Manager’ Duke Vincentio (Ben Collingwood Best) departs, he delegates his authority to the stern and strict ‘Deputy Manager’ Angelo (Daniel Drema), who vows to restore order and virtue to the city.  However, Angelo’s overzealous enforcement of his powers leads to the sentencing of Claudio (George Abbott) for “premarital relations”, and consequently his sister Isabella (Hanne Evhammar) pleads for his freedom.  Herein is built the base of morality and absolute power which is the foundation for Measure for Measure’s unravelling plot. 

Shakespeare’s narrative device is primarily observations of the Duke, sneakily disguised as a janitor so nobody recognises him (like it’s an episode of Scooby-Doo!).  He is an active fly-on-the-wall to the unfolding drama, buzzing around to manipulate events to reveal the true nature of those in power.  Despite being centuries old, and being moved to a slightly more modern hotel for this version under Asha Gill’s direction, the interplay between a bickering cast with an absence of trust and truth is perhaps prescient of fake-news-populism-present-day, or in any case clearly the study of power and morals is one that has been pertinent through the ages.

On the subject of travelling through the ages, a mention must go to the sound design of Joe Olney, which became a character in its own right, transforming the play as a bridge between the lute-playing melodies of the Shakespearean era to a contemporary odyssey.  What sounded like German industrial techno pulsed and punctuated tense moments, a heartbeat echoing the emotional undercurrents of the narrative.  When Mercury Prize-winning Wolf Alice’s ethereal Formidable Cool enveloped the stage, it was as if the fabric of the story had transcended time, seamlessly threading the past and the present.  Whilst a sonic anachronism, there was something very pleasing to this reviewer seeing a pining acapella rendition of Hoobastank’s throwaway early noughties emo-ballad The Reason midway through the work of arguably the finest playwright to have lived. 

The ensemble cast brought the characters to life with an infectious energy that reverberated through the audience, and it was these combined efforts that really made Measure for Measure feel complete.  A special mention should go to Daniel Drema’s Angelo, played with meticulous and dark nuance, who felt every bit as cold as his calculated actions suggested, as well as Ben Collingwood Best as Duke Vincento, who confidently synthesised the narrative with his performance.  Equally Hanne Evhammar brought emotion to her turn as Isabella, and Hetty Steele as Escalus had real moral presence, with Hugh Cox’s turn as Constable Elbow, complete with Top Gun-style aviator sunglasses, providing comic relief. 

Richmond Shakespeare Society’s Measure for Measure was a celebration of the enduring spirit of Shakespearean drama.  The performances were joyfully choreographed, merged seamlessly as a dramatic dance with the curated soundtrack.  All in all it was a theatrical experience that resonated with a fond warmth long after the curtain call, a welcome riposte to the sharpness of the Arctic January winds that greeted me as I walked out onto the streetlights of suburbia.

Brent Muirhouse, January 2024

Photography by Handwritten Photography