Writer: William Shakespeare
Director: Glenn T. Griffin
Who sins most? The original Shakespeare play, or this new production? Glenn T. Griffin’s artistic interpretation of Measure for Measure explores morality and accountability in modern society.
The scene opens with the Duke of Vienna (Tom Ray) entrusting his deputy Angelo (Curtis Burrows) to improve the moral standards of the city. In regular Shakespearean fashion, the Duke disguises himself as a friar to observe Angelo’s actions. Shakespearean chaos ensues. First performed in 1604, Shakespeare’s Measure for Measure focuses on the power of corruption, specifically men in power who enforce moral laws that they themselves cannot keep. Though the play is classified as a comedy, the darker undercurrents create a fertile place for this contemporary adaptation.
Griffin’s production fully explores the darker side of the play. Invoking a modern twist, the characters find themselves confronting issues mirroring contemporary debates. This production cuts out various scenes and characters to focus on the main story between Isabella, Angelo and the Duke of Vienna. This decision darkens the play considerably, leaving only rare moments of dark humour.
The lighting, music and set are simple, yet effective in creating an all-encompassing space, where everyone, even the audience, is participating. This is no truer than when Angelo tries to make his twisted sexual fantasy a reality. In the most heart-wrenching scene in this production, he throws Isabella to the ground. With the audience watching on, there is bleakness that shines through and connects to everyday women who are openly harassed and victimised, as the community does nothing to aid the victims of sexual violence. The scene is chilling and well executed.
Simina Ellis’s Isabella is the standout performance. Her portrayal of an innocent and virtuous Isabella overshadows all the other actors. Dressed in black with a cross clearly visible, Ellis is the very picture of religious purity. She portrays an Isabella strongly devoted to her brother and God, yet unable to truly see the evil surrounding her.
Indeed, she allows the Duke of Vienna to touch her numerous times while he is under the guise of a friar. The kindness and support she comes to rely on from him is therefore twisted before she realises the Duke’s true motives. By the last scene, Isabella is left shunned and trapped by those around her, as the shocking ending leaves the audience pondering morality in modern society.
This adaptation largely focuses on the three main actors and the power play at work on stage. Ray and Burrows barely hold their own when paired with Ellis. That is not to say they don’t have their moments. Burrows’ facial expressions are on point, showing how truly corrupt Angelo is in his current position. Ray moves effortlessly between playing the Duke and the friar. His performance is sometimes the only spot of comedy in this play.
This production aims to present itself as a contemporary piece with the usage of iPhones, popular music, and drugs. Instead of aiding the performance, these props rarely served a purpose. Take away the technology and the drugs, and this portrayal would not look that much different.
Griffin’s adaptation is haunting as the prevailing message of ‘who will believe you?’ is echoed again and again. This Measure for Measure brings out the worst of male morality and the dangers women face every day.
Runs until 5 October 2025
