Thursday, July 19, 2018

310 post 3: Measure for Measure


Measure for Measure deals a lot with the thoughts of characters on virtue as well as the contrasts between virtue and sin. It is agreed for the most part that the play is a problem play, ending in a conclusion that does not make sense with the characters in it. As it is, this was a very strange interpretation of the play, Measure for Measure. When I was reading the play, I did not see the interpretations of the characters the same way they were portrayed by the company. I also expected the characters and play to be different than it was because of the description in the program which seemed to indicate that this version was inspired by Moulin Rouge and Burlesque. However, I did think that the ending created a better explanation for what the characters were supposed to represent. The representation of the characters in this production are important as they contrast with my own reading and what they seem to be indicating in the script.

The characters in this production were more extreme in how they acted than the script seemed to indicate. For example, Lord Angelo was actually scary in this production, or at least he scared me. He was much more violent than my reading of the script made him. Yet, I am loathe to say that the script did not intend to make him violent and scary, as I tend to see the good and better in characters whereas others look for bad. The actor playing Angelo made the indication of physical violence a very real danger when Angelo is asking Isabella to give up her virginity to save her brother’s life. This seemed more aggressive than the reading seemed to indicate. I read that he was creepy and the character made me uncomfortable, but the real danger of physicality did not come across, but in the production. Yet, Angelo was not the only character that seemed to go to an extreme with portrayal. Lucio was much lewder and nastier than I seemed to read him. Indeed, in the script Lucio was mischievous and received no sympathy for his plight, but this production made his personality extreme. These two were the most easily to distinguish in their portrayals, ass to me they held the most significant difference to the script. Yet, even with these extremes, the ending of the play fit better the characters than the script.

The introduction of music helped the ending of the play as well as the overall plotline. The song fit well with the plot and really introduced the issues between the characters. This was an interesting choice, especially since the scene that establishes Isabella’s character, the one with her talking to a nun about joining the convent was removed. This seemed a strange choice to me, because this helped establish Isabella’s character as one of piety and virtue. However, the play kept her in the nun’s habit and with a face clean of clown make-up it was not hard to distinguish her as one of innocence and purity in contrast to the rest. In addition, the song really helped establish the issues plaguing Vienna as well as the characters themselves. However, the song was the most useful at the end. The play ends in a weird place where the Duke asks Isabella to marry him, but she makes no response. The actors playing the Duke and Isabella froze as the song was sung. The one line dealt with the Duke being a hypocrite, wanting to punish people for issues dealing with children out of wedlock and taking away a maid’s virginity. This was powerful because it really stuck home the ending of the play in that it was incredibly strange for the Duke to ask Isabella to marry him. First, they had not spent barely any time together and when they did, it was when the Duke was dressed as a friar, hence making their relationship purely platonic. This is what made it strange for him to randomly request her hand at the end, especially concerning his idea of corruption in the beginning of the play and his way of dealing with Angelo after his return. So, while the play made the characters more extreme portrayals on their individual spectrums, it also resolved, at least partially, an ending that makes no sense in the original script.

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