Shakespeare Festival easily makes the ‘Measure’

The seventh annual Shakespeare Festival was in full swing when I attended the Friday night performance of "Measure for Measure."

I emphasize the fact that it is the seventh Shakespeare Festival. To affirm the importance that this undertaking has had on the whole Permian Basin, Midland Mayor Wes Perry read a congratulatory proclamation.

What a way to start a show!

This review is going to be more of a review of the audience than it is the performance itself.

When I arrived I heard several people comment that they really weren't too familiar with this play; they didn't know what it was about and it did not have any quotes you had to memorize in high school to pass English literature.

At intermission the comments were: "Hey, I'm having a good time!" "The subject matter is really contemporary!" "Mrs. Morris probably wouldn't have approved of this play!"

In other words, the Bard once again charmed an audience, some 400 years removed from his time, by involving people in timeless human situations.

Yes, in the early 16th century young women became pregnant out of wedlock!

Yes, there were strict rules of conduct imposed that were often too stringently enforced.

Yes, there were ordinary people who schemed to get around the rules.

Yes, there were people made to suffer needlessly because of someone else's abuse of power.   

Sound familiar?

It's all in this play.

Cynthia White has once again proved that she can direct a Shakespearean play with meticulous blocking that creates a steady, flowing pace that allows the actors to settle comfortably into their roles.

The imported professionals were masters of Thespian technique.

Mikel MacDonald was mesmerizing as the Duke who passes himself off as a monk to see how things really are in his duchy. His height, movements and beautifully resonating voice commanded our utmost attention. His consummate professionalism was in evidence in every movement, gesture and aside.

Brian Mulholland was the malevolent Angelo who was given absolute power over the people in the Duke's absence. He was devastatingly cold and evil in his pursuit of enforcing the most restricting of laws and gave a polished performance that was passionately reserved.

Kay Allmand brings a level of intensity to the role of Isabella. We first see her as a postulate in a convent who leaves to try to save her brother Claudio (James Lewallen) from being executed for having impregnated his fiance Julietta (Amber McDonald) before they were married. She has a demanding role that is pivotal to the plot. She is repulsed and intensely supplicant in pleading with Alfredo when he makes an unsavory demand of her. She makes us agonize over all her dilemmas with empathy and compassion.

Throughout this play Shakespeare incorporates many soliloquies for the major roles, giving the actors a chance to fill out their characters - something they all do successfully.

Keeping pace with the imports was our own Victor Lopez who as Lucio and Froth displays his good speaking voice and histrionic finesse.

It was nice to see Kathy Hollmann again on the Globe stage. She was flirtatious as Mistress Overdone and mysteriously demanding as Mariana.

The incidental music was interesting, ranging from Bach to rock.

The costumes designed by Rhonda Gorman were obviously carefully researched and brought a sense of muted taste to the production. I was especially impressed with the costumes for Alfredo and Lucio. (Was it my imagination or was the black and white color scheme for Isabella's dress made to complement the monk's attire?)

The same people who entered the theater not quite certain of what they were going to see left knowing they had been entertained by a funny, intense and intricate play.

It is not surprising, since it has been doing the same thing since about 1604!

Go see for yourself!