Dark but stimulating play that exposes difficulties of moral conduct

The Sinodun Players present Measure for Measure
Corn Exchange, Wallingford
Tuesday, July 9

THOUGH classed as a comedy, Measure for Measure is one of Shakespeare’s dark plays.

Director Simon Tavener has darkened the mood still further by transposing the action to 1938 Vienna under Nazi rule.

The play foregrounds the importance of understanding what’s right and what’s wrong, especially within a framework of inflexible rules and practices.

I didn’t expect music in this production but the 1938 setting provides the perfect context for cabaret-style song.

Mistress Overdone (an elegant Jay Aggett) presides over the Lavender Club. The live band plays on (under the direction of David Guthrie), the dancing belies the trouble to come and we can sit back and enjoy the songs.

Aggett opens with the production’s theme tune, The Lavender Song, an anthem celebrating the right to be different. Graham Watt as the flamboyant Lucio launches into Just a Gigolo, establishing himself as a key figure among the group of mischievous libertines who frequent the club.

The set (Simon Tavener and Bruce J Williams) supports the complex action by providing a range of flexible platforms and spaces but in a muted palette dominated by grey.

Marilyn Johnstone’s costumes stick mainly to the same colour choices — grey, black, white and red.

Sarah Enticknap, for example, forthright as the Provost, spends her whole time on stage in sombre uniform. Alistair Harvey’s lighting, in cool tones, adds to the overall stark look of a production set in a repressive society.

Duke Vincentio, mindful of the moral fabric of Vienna, hands control over to his deputy Angelo, while disguising himself as Father Lodowick in order to keep a discreet eye on what is going on.

Oliver Godfrey is dignified and authoritative as the Duke but retains a twinkle in his eye when playing up to the audience in his dual role.

Keith Heddle excels as the uptight Angelo, smartly
dressed and all heel-clicking obsequiousness.

The Duke has confidence in his deputy’s probity, backed up by the opinion of state official Escalus (a steadfast Sue Brown).

In contrast, who can have confidence in the comically incompetent Constable Elbow (Chris Harris)?

Under the rule of the intransigent Angelo, it doesn’t take long for things to go wrong.

Daniel Taylor is the open-hearted Claudio, arrested and due to be hanged for immorality because his betrothed, Juliet (Amber Dawn), is pregnant.

Alex Reid is earnest as novice nun Isabella, Claudio’s sister, clad all in white, tasked with interceding on his behalf.

Angelo shows his true colours by making an indecent proposal to Isabella in exchange, supposedly, for Claudio’s life.

Heddle and Reid are compelling as they energetically debate moral choices and how far principles can be compromised.

Angelo makes arguments that suit his cause but we don’t believe him. The same could be said of Nazi dogma since we didn’t believe that either.

Angelo’s trump card is his superior power; he is a bully — suave and sophisticated but still a bully.

The disguised Duke makes some wily moves, facilitating the reconciliation of Angelo and his ex-love Mariana (Ania-Marie Ward) and involving unrepentant prisoner Barnardine (Andrew Harrison) in a complex ruse to spare Claudio from execution.

Barbara Wood as Abhorson the executioner, assisted by Rebecca Cleverley as Pompey, provide some gallows humour.

The director has gathered together a superb team of actors and creatives to stage this stimulating drama that pitches rule-makers against rule-breakers, acknowledging there are no easy answers when it comes to moral conduct.

I was often troubled and amused but, most of all, deeply impressed by this outstanding production.

Susan Creed