Writer: William Shakespeare
Director: Emily Burns
Emily Burns has marked her return to the RSC by giving us an uncompromising and sizzling adaptation of Measure for Measure.
Modern-dress versions of Shakespeare are nothing new, of course, but this production has been brought bang up to date. It’s sometimes thought of as a problem play, but of all the plays in the Shakespeare canon, Measure for Measure is one that resonates most strongly now, even 400-plus years since it was written. The script has been somewhat altered from the original, with added dialogue in places and changes of emphasis, including the removal of an entire sub-plot and the associated characters, but what we’re left with is a tight and compelling production that feels distinctly contemporary. With its themes of sexual predation, religious fundamentalism and hypocritical politicians, there’s a lot here for audiences to relate to.
The Duke leaves Vienna to escape some scandal that’s about to hit the news, and leaves his deputy Angelo in charge in his absence. Angelo takes the opportunity to restore some long-forgotten law,s including the death penalty for fornication, resulting in Claudio being arrested for getting his fiancée pregnant. Claudio’s sister Isabella, about to become a nun, goes to plead for mercy and is given Shakespeare’s most unsavoury ultimatum – her virginity for his life. She threatens to denounce Angelo, but he laughs it off – “Who will believe thee, Isabel?”, a question that has haunted victims of famous and powerful men through the ages.
Frankie Bradshaw’s stripped-back set is part ultra-modern office, part high security prison with Joshua Pharo’s lighting adding drama. There’s video too by Zakk Hein, kicking off proceedings with a montage of political figures reminding us of past and more recent scandals, with a later Trump-style motorcade for the Duke’s return setting us firmly in the present day.
Tom Mothersdale gives us a sleazy portrayal of an altogether unsavoury Angelo, outwardly pious and austere but taking advantage of the position he’s been given to manipulate and exploit a vulnerable young woman. His initially tentative and uncertain proposition of Isabella grows in confidence as he becomes more assured of his power, then strong denials when first confronted with the truth, shrinking into himself and hiding his head as the proof is presented to him. Isis Hainsworth gives us a strong performance as Isabella, pleading yet steadfast against Angelo’s advances, but torn apart by grief at the thought that her determination is sending her brother to his death. It culminates in her shock at the discovery that even the Duke wants something from her in return for saving her brother – what Shakespeare might have regarded as a happy ending doesn’t always have the same feel today.
Emily Benjamin is a strong and determined Mariana, Angelo’s jilted fiancée, who agrees to help Isabella with Angelo’s undoing recognising that there is something in it for her too. Adam James is an assured Duke, creating a lot of comic potential when he appears in disguise – in this case as a priest hiding behind nothing more than a clergyman’s collar and pair of thin-rimmed glasses – but proving in the end that he’s as manipulative as the rest. There’s a good characterisation of Claudio from Oli Higginson too, with rapid mood swings from hope to despair and anger, and confusion to relief.
Choosing how to present the sex scene can be a challenge, and here it’s a thing of beauty. Graphic though with no nudity, and with atmospheric lighting and a beautiful choral arrangement by composer Asaf Zohar it creates a fizzing emotional tension and a powerful end to the first act.
The Duke’s return and play’s climax is presented in the form of a press conference, with highly-effective on-stage cameras giving us close-ups of the faces as things are revealed, the confusion, grief and despair at the revelations laid bare for the world to see – including a reminder that modern offices have CCTV, and Angelo isn’t the first politician to be caught out in an act of hypocrisy in this way.
Removing most of the traditional comic characters and subplot might risk making this an overly preachy production, but Burns has adeptly picked out moments of humour elsewhere, providing an excellent counterpoint to the serious themes and creating many laugh-out-loud moments. It also allows us to focus more on the central messaging around power, hypocrisy and manipulation, and the impact these can have both on those involved and those around them.
It’s a modern, compelling and extremely relevant production. Highly recommended.
Runs until 31 January 2026
