HOUSE + BODY, in association with Crow’s Theatre/Measure For Measure, adapted and directed by Christopher Manousos after William Shakespeare, Studio Theatre, Streetcar Crowsnest, closes Mar. 16. Tickets here.
This radical treatment of Shakespeare’s Measure For Measure is immensely entertaining. Sadly, the production is only running for a week, so you have precious little time to get yourself over to Crow’s Theatre before it closes on March 16.
Here’s a teaser: the play is being performed in a sound studio — podcast or radio? — and five actors take on 20 roles. We see them both as characters in the play, and as actors performing in the play.
Reality does meet make-believe, but more about that later.
The Company
HOUSE + BODY was founded in 2016, and has built a solid reputation as a home for both experimentation with the classics and new play development. Christopher Manousos, current artistic director of H+B, is also an associate artist at Crow’s Theatre, which accounts for this production finding a home. Congratulations are due to Crow’s for supporting small independent theatre companies such as H+B.
The Play
Measure For Measure, written around 1604, is one of Shakespeare’s problem plays, meaning it has both comic and tragic elements, and therefore, doesn’t sit squarely in either camp. H+B’s version of the play, adapted and directed by Manousos, certainly presents both aspects, and happily, finds a balance between the two.
I’ve always thought that the plot of Measure For Measure was a bit unfair.
Vincentio, Duke of Vienna, has let law and order slide, so, on the guise of going on a trip, he leaves his deputy Angelo in charge with the mandate of tightening up the laws. For his part, Angelo enacts draconian measures because it is his duty, yet he becomes the villain of the play for doing his job. Admittedly, he does turn out to be a liar and a lecher who embodies the worst of humanity, but he is proof that power corrupts absolutely.
On the tragic side of things is the law of fornication that sentences young Claudio to death for getting his love Juliet pregnant out of wedlock. Claudio’s death is certain when his sister Isabella, a novice nun, refuses to give up her virginity to Angelo in order to stay her brother’s execution, thus believing she has saved both their souls — hers in life, and Claudio’s in death. Many literary critics and casual playgoers alike have found Isabella infuriating.
The comedy in Measure For Measure revolves around the shenanigans that brothel keeper Mistress Overdone, the pimp Pompey Bum, and Lucio a “fantastic” get up to. And, of course, we have colourful Shakespearean stereotypes like the simple misspeaking constable Elbow, and the larger-than-life executioner Abhorson.
Then there is the deus ex machina effect when the duke appears to put things to right. He has been in disguise as a friar to watch what happens when Angelo cracks down on easygoing Vienna.
The Actors
Just how has H +B experimented with Shakespeare’s Measure For Measure?
First of all, the script has been beautifully streamlined by Manousos by making one of the actors (Danté Prince) be the narrator who announces the acts and scenes and fills in the gaps of the story. He also does amusing “radio” things like saying “Stay tuned!” or “Will Isabella give in to Angelo”?
This podcast/radio show is called Soundwave and is apparently the brainchild of a husband-and-wife acting team (Sébastien Heins and Katherine Gauthier). Heins’ character is the director of the play who also performs Angelo. Gauthier is phenomenal in her gazillion roles, ranging from a madam to an executioner. For his part, Heins as director is also worrying about how the production is progressing.
The most cool, unflappable actor is Jamie Cavanagh, who is playing the duke. He also sees things he shouldn’t see because Manousos has added in a little subplot of his own, which I decline to reveal.
There are some genuinely funny moments.
For example, Prince has to play two characters who are talking to each other, which he does in hilarious fashion. He also has to frantically ad lib when Beck Lloyd as Isabella misses her cue and panic ensues. Lloyd’s character is an actor who has joined the cast as a last-minute replacement. And then, of course, there are some amusing de rigueur commercials.
The real fun, however, is how these five excellent actors mix together the characters of the play with their real selves. Some very serious acting does take place as scenes of tension occur, such as between Angelo and Isabella, and Claudio and Isabella, but always they and we are aware of the artifice.
I don’t think it was my imagination, but at times an actor telegraphed what they were feeling about their role which added on a whole new layer to the play.
Beck seemed to be disapproving of Isabella’s moral certainty, while Heins was enjoying playing lecherous Angelo a little too much. At one point, he put his hands on Beck’s waist to move her into the proper position in front of the microphone. It was a very intimate moment.
All the actors have a very good command of the Shakespearean language, and they were able to breathe life into their many roles. After all, five were playing 20. For example, Beck was the inflexible Isabella and the dimwitted constable Elbow — two very contrasting personas.
I was very taken by Prince, who is a natural clown with an endearing personality, but he could also produce a credible Claudio. The master of the voices, however, is Gauthier who took on the plethora of secondary characters and made them all deliciously different.
The Production
This Measure For Measure is performed in the round. The set is comprised of two tables filled with microphones and sound equipment. The action however swirls all around these tables, and when an actor is not needed, they sit in a chair reserved for them in the audience. The commercials are always done close to the microphones.
Along with directing and adapting, everyman Manousos also did the set and costume design. Chris Malkowski created the excellent lighting, which moved between the bright glare of a sound studio to the more muted atmospheric light needed for the scenes of Shakespeare. Riel Reddick-Stevens was responsible for what I imagine was an intricate sound design.
Upon reflection, the most impressive aspect of this production is its complexities, and how director Manousos and his talented cast negotiate through the drama both on the stage and off.
There was never a dull moment in this Measure For Measure.
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