The Looking Glass Theatre Company is presenting a version of Shakespeare's comedy Measure for Measure, and the program describes it as "gender bended to highlight the modern issue of gay marriage". While it doesn't make much of a serious political statement, it provides an entertaining take on the play, as well as some memorable performances.
In this incarnation of Measure for Measure, Dutchess Vincentia (originally Duke, played here by Christine Bokhour) goes on a sudden trip, leaving Angelo (Peter Bean) in charge of the realm. Angelo must pass judgment on Juliet (the lovely Tania Jeudy) and "Claudia" (normally Claudio, played here by the definitely female Caroline Samaan), who have been found guilty of the crime of lesbianism. As with the adultery in the original play, homosexuality is illegal in this fictional world, but the law against it has not been enforced in "so long that nineteen zodiacs have gone round". These lipstick lassies are due to be put to death for the crime. Claudia's brother Isabail (Jesse May, in another gender switch), is a straight man entering the priesthood. He pleads with Angelo for the life of his sister, and is put into a hellish quandary when, GASP!, seemingly straight arrow Angelo demands Isabails', er, "virginity" in exchange for Claudias' life. Running around in the background are the numerous characters that keep this often dark piece in the comedic vein: gossipy swish Lucio (Dax Valdes), the pimptastic Pompey (Michael Whitney), exasperated Elbow (V. Orion Delwaterman), and Mistress Overdone, played here by Ethan Gomez as a fiery Latin drag queen.
I'm not opposed to getting creative with the bard, but I am always leery of productions whic
h make changes as drastic as this. It's not that my sensibilities are offended, or that I have any puritanical devotions regarding dear old Will from Avon. The problems which arise, generally, are that the wild "revisions" seem gimmicky or are poorly executed. To my surprise, this was not one of those travesties. The changes in gender actually work, largely due to the hard work of the excellent principals. The confusion and heartbreak are well portrayed, on the whole, and therefore transcend the constraints of gender or sexual preference.
What does not work, however, is a laboriously smutty New Orleans red light district setting. Director Glory Sims Bowen has chosen to add some very poor transitional dance sequences set to swinging New Orleans funeral march music (traditional hymns like "What a Friend We Have in Jesus" played by a brass jazz band). Equally tedious are over-long "stylized" set changes, where cast members move rickety prison bars around the stage by in lethargic drill team pace. These elements fall into the gimmicky, poorly executed category.
Set designer Bokyoung Youn seems to be trying to do the best she can with what little she has to work with, and the vintage style costumes by David B. Thompson have a few hits and numerous poorly fitted clunkers. James Bedells lighting fares better, and helps to effectively create the moods of both a seedy bawdy house and a cloister.
There are numerous excellent performances in this Measure for Measure. As the Dutchess, Ms. Bokour brings dignity and wry humor to her scheming role, with her pleasantly husky voice and commanding presence. Peter Bean manages a neat trick: he is an Angelo that one both hates and sympathizes with. Watching him struggle against his lust is great entertainment (and though he loses the battle with his carnal desires, his performance manages to triumph over his ghastly ascot). Jesse Mays, the object of the aforementioned lust, has a face that might make any gay man (or straight woman, or, frankly, theatre critic) consider breaking some laws, but thankfully backs up his good looks a great performance. He imbues the originally feminine Isabail with vulnerability without seeming whiny or fey. Ms. Samaan plays the condemned lover Claudia with winning willfulness, and Michael Whitneys' Pompey makes the most of every double entendre he gets drawl around.
