"Style Weekly" Praises "Measure for Measure"

From this week's Style Weekly:

Quick-Change Artists
Actors make the most of multiple roles in “Measure for Measure.”
by David Timberline

Richmond Shakespeare Theatre’s practice of “doubling” — having each of its actors play two or three roles in a show — has always led to some interesting juxtapositions. Its current production of “Measure for Measure” may present the most fascinating and artistically rewarding combinations yet.

In this complex consideration of moral gray areas, Andrew Hamm portrays both the strict Duke’s deputy, Angelo, who must crack down on the reprobates of Vienna, and the unfortunate gentleman Claudio, who gets cracked down upon. Both of these characters are fraught with inner conflict, and it’s a tribute to Hamm’s considerable skills that he is able to make each man’s trajectory riveting and distinct. He even throws in for good measure an amusing comic turn as an elderly constable.

Hearing that Claudio has been sentenced to die, his novitiate sister, Isabella, leaves the nunnery to plead for his life. Angelo makes her a devil’s bargain: If she sleeps with him, he’ll free her brother. As Isabella, Liz Blake is convincingly enchanting and proves her acting mettle in the extreme emotional rollercoaster her character must ride.

Spurring the plot into greater complication is Vincentio, the Duke (David White), who disguises himself as a friar to spy on the proceedings. White doesn’t quite do enough to differentiate the Duke from the pimp Pompey, but he salvages his performance in some exceptional final scenes.

In other supporting roles, Julie Phillips makes her biggest impression as the bawdy Mistress Overdone, and while John Moss’ near-farcical take on the opportunistic Lucio sometimes seems to belong in a different play, it’s also consistently hilarious.

As is befitting one of Shakespeare’s “problem” plays, this production has some issues with the mix of comic and melodramatic elements. But the overall effect is a bracing — and gratifying — journey down a murky moral path.



This is my blog, rather than Richmond Shakespeare's, so I can make more personal commentary here without shame.

It's unfortunate that David Timberline and Mary Burruss have to come see such early performances in a show's run (they were both at the Thursday preview) to write a review that doesn't see print for almost two weeks after the fact. It's a bit of a disservice to the company, which loses a full week of media buzz, but it's also not fair to the reviewers, who are often seeing something of a work-in-progress at the beginning of opening weekend. Cases in point: the slippery carpets were a serious distraction for both actors and audience, and Dave White has really found some very specific and delightful differences between the Duke and Pompey in the past two weeks.

Then again, that's part of the wonder of theatre, isn't it? No two shows are alike, shows morph and evolve as they run, and no two audiences have the same experience. Perhaps all theatre reviews should be required to state the date of the performance the reviewer attended so the audience can say, "Hey, that was like two weeks ago. I wonder how the show is different now?"

Measure for Measure continues to be a mountaintop artistic experience for me. This script has gone from being a chore to read in October to possibly my favorite play in all of Shakespeare by January, from being a struggle to connect with to the most rewarding acting work of my life. I will be incredibly sad to see it go.

Honestly, to play those scenes with Liz Blake, I would do this show for free.

Don't tell Grant.

Times-Dispatch: "Measure" "Offers Much to Chew On"

From the Richmond Times-Dispatch:

A comedy wrestles with morality
Richmond ensemble takes on tangled plot of Shakespeare play
Sunday, Feb 10, 2008 - 12:08 AM Updated: 02:49 AM
By SUSAN HAUBENSTOCK
SPECIAL CORRESPONDENT

Richmond Shakespeare's entry in the Acts of Faith Festival, Shakespeare's comedy "Measure for Measure," offers much to chew on in the areas of morals and ethics.

The Duke of Vienna has been lax in applying stringent societal laws; he pretends to head out of town and gets his deputy Angelo, a much tougher enforcer, to take his place while he's gone. Angelo promptly condemns one Claudio to death for fornication -- a crime that has typically gone unpunished by the duke.

Claudio's sister Isabella, a novice nun, begs Angelo to let Claudio off, but deceitful Angelo is willing to do so only if Isabella sleeps with him (with Angelo, that is -- confused yet?). The duke is hanging around Vienna disguised as a friar, and when he learns of Angelo's treachery he devises a plot by which Angelo will be tricked into thinking Isabella has submitted to him. So Angelo has sex with a substitute girl, but he still demands Claudio's death. The execution is faked, the duke reveals the truth and metes out justice, and then he asks Isabella to marry him.

It's fairly complicated, morally as well as plot-wise, and Shakespeare has blended serious matters with comic ones throughout. No one is quite blameless here, though several characters are shameless, or hiding their shame.

In Richmond Shakespeare's production, director James Alexander Bond upholds the company's high standard of spoken verse and pulsing energy as realized by a terrific five-actor ensemble.

Each actor plays at least three roles, and all the characters are well-distinguished. Liz Blake plays Isabella, lovely and innocent, brave and outraged. Andrew Hamm, as Claudio, has a classic scene with her in which he begs her to sacrifice her virginity for his life. He's also perfectly tuned as hypocritical Angelo.

John Moss is amusing and animated as Lucio, Claudio's friend, and Julie Phillips is strong in several smaller roles. David White does a fine job with the role of the duke. It's a lively performance that lends heart to the production.



Thank you to Susan Haubenstock! One of the great things about doing plays with universal lighting is seeing Ms. Haubenstock's mysterious Mona Lisa smile in the audience during a show.

Matinee today at 2:30. Come out and join us!

Coming Attractions: "Measure for Measure"

Next up for Richmond Shakespeare: Measure for Measure, directed by James Alexander Bond, featuring Liz Blake, me, John Moss, Julie Phillips, and Dave White, costumes by Rebecca Cairns, and stage managed by Heather Johnson.

I wrote the "professional" blurb over at the RS Blog, but this is where I get to be a little more honest and self-serving.

This is my second time acting under the direction of Mr. Bond, and both times I have come out of the process feeling like I've grown as an actor far beyond where I thought I could go. This particular process has me simultaneously thrilled at the leap I feel I've taken forward and more than a little frustrated at the little places where I still feel myself holding back with only a week to go. I feel like a huge breakthrough is just one rehearsal away, but I've felt that way for two weeks.

I have to say here that every truly huge advance I've taken as an actor has been every bit as dependent on acting partners as on directors or teachers. senior Year, it was Mark Joy's and Yvonne Graetzer's Acting for the Camera Class, but it was also the huge brown eyes of actor Summer Bashaw, just listening to me talk about my brother. In David Leong's and Aaron Anderson's Physical Acting class first year of grad school, it was Matt Ellis, who is not only just about the best actor I know but who became my best friend while we rehearsed that first scene. (Our feedback from David: the unforgettable "Good work. No notes.")

Two years later, the actor-writers of Project Evil shepherded me through a process I was ostensibly supposed to have been "teaching." Piper Blouin, Jeff Cole, Elaine Deichmeister, Julia Rigby, and Caitlin Stafford: hats off to you all. Don't think I've forgotten.

The whole cast of Measure is great. Dave is one of my best friends, John is consistently hilarious, and Julie Phillips is simply one of my favorite theatre artists to work with in the world ever. But here I have to single out Liz Blake, Fievel Pockets, my official unofficial little sister.

This is three years now I've been working with Liz on and off, and the first time I've gotten to play with her extensively. And it has been one of the joys of my professional life to see her grow into each role she plays. She's our Isabella, all passion and pleading, the nun's novice whose virtue steals my Angelo's heart (among other things), and in the moment when she kneels at the side of my throne to ask if I've ever had fault like her brother's, I gaze into those prismatic brown eyes and fall completely in love with her. Every. Night. The rest is, as Mal Reynolds would say, easy-peasy. (Except the "little sister" part; that's pretty much gone forever.)

So I hope you'll come see Measure for Measure, not to witness The Greatest Advance in the History of American Acting but just because I'm happy about it and I think you'd like to see it.