There is always an element of suspense for audiences to any production of Measure for Measure – even for those who have seen Shakespeare’s most problematic play many times. How will the director and company reconcile the pessimistic depiction of corrupted power, sexuality and relationships with the play’s supposedly comedic elements, including the final flurry of marriages, two of which are meted out as punishments?
First published in The Times, Thursday June 30 2016
While cross-dressing is central to the plot and resolution of a number of Shakespeare’s comedies, Twelfth Night occupies its own league as a comment on gender construction and elastic sexuality. The female protagonist spends most of the play dressed as a pageboy, inadvertently stirring the passions of a woman who has forsworn all male suitors while simultaneously harbouring a secret love for a nobleman. Talk about progressive.
In recent years, Bard in the Botanics, Scotland’s annual summer Shakespeare festival, has complemented its programme of full-scale outdoor productions with one radically pared-down adaptation, performed by a handful of actors in the Kibble Palace glasshouse. Last year’s ambitious reworking of Henry IV Parts I and II, performed by a cast of just three, was a powerful, drum-tight account of Prince Hal’s relationships with his two parental guides, his father the king and feckless Falstaff.