Pictured: Angelo (Stephan Jones)  Isabella (Jessica Walling)	Pictured: M. Overdone (Becky Fisher),  Whore #1 (Jessica Walling),  Kate Keepdown (Sarah Hankins)	Pictured: Isabella (Jessica Walling),  Lucio (Tim Williams)

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Measure for Measure

by William Shakespeare
October 15 through November 21
Previews October 13 and 14
Goldman Theater

Jealous Lord Angelo has his eye on the lovely Isabella, but the good Duke and Angelo's former lady love have other ideas. This dark comedy, set in Post-WWI, Viennese cabaraet society, is sure to make the Goldman Theater come alive with the magic that is Shakespeare at his best! In keeping with a stated goal to produce all of Shakespeare’s works, Measure for Measure has never before been produced by the Festival. 

Sponsored by 
Hy and Harriet Lake

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Pictured: Angelo (Stephan Jones) M. Overdone (Becky Fisher), Kate Keepdown (Sarah Hankins), Duke (Paul Bernardo)

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Reviews

Production Measures Political Relevance

FLORIDA TODAY
BY PAM HARBAUGH
Posted 10/30/04

Right picture: Isabella (Jessica Walling), Duke (Paul Bernardo), Mariana (Becky Ficher)

ORLANDO -- The lines between theater and politics are appropriately blurred with the Orlando-UCF Shakespeare Festival's superb production of Shakespeare's rarely done dark comedy, "Measure for Measure." As designed by Bob Phillips, the pre-World War II setting appears to be on a decaying stage. Above the stage, a broken proscenium arch frames the action. On the sides of the auditorium, posters hang like theater bills, entreating patrons to learn more about the people inhabiting the story. Wooden grids unfold, dingy curtains pulled and tables reshuffle to present an array of locations -- the Duke's palace, a house of ill repute, a monastery and a prison.

Without attempts to disguise themselves, actors portray many characters. It is evocative of actors-turned politicians and politics-turned rabble rousing entertainment. And, it reminds us that there is no difference between performance and politics.  Director Richard Width tears the story apart and reconstructs it into one immediately recognizable by contemporary audiences. Politics of power, politics of religion and sexual harassment are the subjects.

A pious leader is so blinded by self-righteousness, that he forgets the divine virtue of mercy and condemns to death a man who has made love to a woman to which he is not married in the eyes of the state. Given today's atmosphere of bitter political and religious hatred, the issues in the play resonate long after the final curtain. It doesn't take much to extrapolate the 17th century English story into issues confronting 21st century American society.  And, thanks to a cast of actors (many of them who have never or only rarely been seen on the Festival's stages) who excel in their understanding of Shakespeare, the Elizabethan language becomes immediately comfortable for the audience.

Paul Bernardo wrings out a wide range of nuances in his excellent portrayal of the kind Duke of Vienna. We see a man who is torn between his affection for his subjects and his hatred of public speaking "I love the people but do not love to stage me to their eyes," he says.

So, he leaves town for a while and turns over his official duties to a civil servant named Angelo, known for his piety. Indeed, when Angelo enters, he stands in white, as if an angel has stepped into the dark chambers. And, portrayed with seething intensity by a multi-talented Stephan Jones, we get a glimpse of the hard hearted, officious adherence to rules to come when this self-appointed man of God is in office.

Contrasting this square corner office, the scene immediately switches to a "Cabaret" style brothel with Fosse-esque song and dance and rampant lasciviousness.  It is this social blight which has prompted laws against debauchery, and ended up with the death sentence against Claudio, played with sympathy by Seth Maisel.   The scene then switches back to sincere religious passion. Claudio's sister, Isabella. As portrayed with depth and strength by Jessica Wailing, the sister, heartbroken at her brother's fate, begs Angelo for mercy. He falls in instant lust for the virgin and tells her that he will do her bidding if she gives her body to him.

But yes, we did say this was a dark comedy. In the background of all this are a host of buffoons who offer both comic relief and advance the action.  Timothy Williams continues to show his acting mettle with his very funny portrayal of Lucio, a foppish man who insinuates himself into every bit of drama he can. Jones adroitly drops his persona of the heavy and lightens the stage as Pompey, a fool who deals in debauchery.  Add to this Width's deliciously wicked, burlesque stage directions to the comic scenes and you have as many laughs as you do moments of insight.  Indeed, it is the laughs that advance the ultimate theme that attempts to legislate morality are absurd at best.

This is such good theater. It entertains, it persuades, it teaches and it stimulates. Thanks to the ever-growing ability and talents with the Orlando-UCF Shakespeare Festival, audiences should have no problem grasping the ideas and language in "Measure for Measure."  Instead, you should enjoy this from the moment it begins, and, ultimately, increase the measure of your own knowledge of the Bard and the power of theater.

Provocative Production... Nearly Seamless... Clever...

The Orlando Sentinel
Excerpts from the review by Elizabeth Maupin
Posted 10/30/04

Pictured: Isabella (Jessica Walling), Lucio (Tim Williams) 

The world has gone mad in Measure for Measure, Orlando-UCF Shakespeare Festival's provocative production of one of Shakespeare's most perplexing plays. Upstanding citizens cavort with pimps and prostitutes. An authoritarian ruler pretends to be above reproach, but his actions tell a different story.

It's a strange world but also hauntingly familiar in this Shakespeare Festival staging, the first in the festival's 15-year history, of this dark, cynical play. Director Richard Width has put together a nearly seamless small-scale production, and he has drawn compelling parallels between the world of the play and our own...  the main thrust of Measure for Measure is dark indeed. Width has given it a pre-World War II European setting that jibes well with the seamy goings-on: A deep-voiced male impersonator struts her stuff in an early scene while two male customers make out at the side of the stage. And Bob Phillips' set design (combined with Eric Haugen's filtered lighting and Robert Turk's moody sound) works exceedingly well: With its broken proscenium arch and tattered burlap, we get the sense very quickly that this world is crumbling.

Width also has made his 10-member cast seem much larger; those 10 actors are playing 25 roles, and Denise Warner's costumes help them make those switches almost invisible. That's easier, of course, when the actors are as inventive as some of these. It's hard to imagine two roles more antithetical than the rigid Angelo and the comically ingratiating pimp Pompey, but Stephan Jones makes you believe you're watching two entirely different people.

Jones is hilarious as the quick-tongued, slow-witted Pompey, and most of the other cast members do much with their roles. Paul Bernardo makes a Duke who becomes more human as the play progresses, and there's a nice warmth about him; Johnny Lee Davenport brings wisdom and pain to the role of Escalus, the Duke's adviser, and frightening brawn to the royal executioner.

Becky Fisher is especially clever as the seductive Mistress Overdone, the proprietress of the play's brothel, and Matt Reece finds sympathy in the small role of the Provost, the dutiful but thoughtful prison warden.

At first, Jessica Walling's Isabella seems less interesting than some of the other characters, but Isabella's mounting grief becomes her, and her look of mute appeal at the end of the play is eloquent... Isabella's pleading for mercy and for justice -- for judging not, that you be not judged -- still strikes at our hearts.

                                                                 Last Updated: 05/06/2007                    Copyright Orlando Shakespeare Theater