Measure for Measure- 17th October 2025 - After Show Q&A.
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| Cover of Penguin edition Credit National theatre Shop |
These are the thoughts that came from the after show Q&A with the actors.
Emily Burns, the director, was not present but much was said about her choices and liberties in cutting and crafting the current script.
It was argued that the historic tradition of cutting a pasting other works gave her this licence. Emily used speeches from other Shakspearian plays, and by other playwrights such as Aphra Ben. The text is not sacred- the story is. I was reminded of this debate around religious texts, and how far to go. Most religions retain ancient languages and sacred texts to protect the primitive version.
A Viennese resident in the audience asked if there was any awareness of Vienna. The play only references Vienna once or twice, and the answer was no. It was a play for all seasons, and places. I thought that Shakespeare probably did not have a clue about Vienna either. It's just an exotic sounding place full of Italians.
We discussed the fact that over the last 400 years, this plot remains credible. Mighty men and pragmatic women, who trade power and status for sex and 'belle laide'. The play orientated from the start with pictures of recent sex scandals and current gasp and cringe inducing stories.
The morality and status of sex may have changed. It can be argued that prophylactics have reduced the risks of exposure (and the unequal impact on the parties). The general message remains the same; everyone's at it, and although perhaps concerning, surely no a serious crime. But today the issue of sex with minors remains critical. The abuse of power merciful continues to be a shocking taboo.
The play leaves the final outcome, the dukes proposal to Isabella, up in the air. Across the recent decades we learn of the different interpretation to this paradoxical finale. In the 50's she is delighted to be propositioned by the Duke. In the 80's she slaps him in the face. In our play, she ambiguously jumps...into the air, flying away, to where? Is she the only one who is not afraid to die?
For me the shock in this play (as a brother) is when Claudio pleads with Isabella to prostitute herself to save his life. He is very scared of death, and I think Isabella is very disturbed by this. Something dies in her. Claudio minimises and justifies the sin. When is comes to, (of course) he is destined to die anyway. Why trust an evil dictator?
Isabella is the only character who appears to be free. Tormented, yes, like Hamlet, but also like Hamlet, living to a higher authority.
