“Measure for Measure” (a video-enhanced play) reviewed by Julia W. Rath

*** RECOMMENDED  The modern reboot of Shakespeare’s “Measure for Measure: A Video-Enhanced Audio Play” is a nod to the last vestiges of Cuban aristocracy. During the Colonial Era, Spanish monarchs bestowed noble titles on Cubans, a great honor which, at the time, carried with it high status in government and politics. After the year 1898, the Cuban nobility no longer held any real power, but their titles were still passed down from one generation to the next: that is, until Fidel Castro and the Communist Revolution put an end to any semblance of hierarchy or class differences. Intent on exploring moral and political corruption during the last days of the Baptista dictatorship, director Henry Godinez uses Shakespeare’s own words and a series of photographic collages to draw parallels between Cuba in 1958 with that of Austria in Shakespeare’s tale, 400 years earlier. His intent is to point up the cultural contradictions of this time period, where the country’s overall disreputable society flew in the face of a largely Catholic nation’s religious morality.

To fit a one-hour and forty-minute time slot, Godinez uses an abridged (radio) script in Shakespearean English with minor touches added to emphasize the Cuban angle. Not only has Vienna been shifted to Havana and Poland replaced by Tampa, but adieu has been replaced by adios, together with the occasional interjection of Spanish expressions, words, and pronunciations: perfectly understandable to those whose knowledge of Spanish is rudimentary. Italian/Latin-based character names are easily translated into Spanish monikers. Video design by Rasean Davonte Johnson combines footage recently taken onsite in Cuba with that of portraits of the various cast members. The visuals are gorgeous throughout with rather interesting lighting and special effects, especially when an old building’s exterior walls are overlaid by portraits of the actors projected onto streetscapes dating from well before the late 1950s. Of course, we don’t have to live back during mid-century to witness old buildings and old cars of that vintage!

In addition to the fine projection design, the show features excellent and fluid sound, designed by Pornchanok “Nok” Kanchanabanca and edited by Lindsay Jones. Of course, the production is a credit to its talented cast, made up of Yao Dogbe (Bernadine/Elbow), Cruz Gonzalez-Cade (Isabella), Kevin Gudahl (Duke), Timothy Edward Kane (Provost), James Vincent Meredith (Angelo), Daniel José Molina (Claudio), Monica Orozco (Nun/Mistress Overdone/Mariana), Lakeisha Renee (Julietta/Escalus), Paul Oakley Stovall (Lucío), and Larry Yando (Pompey/Friar). My only dispute is with some of the video editing. But ironically, this poses an advantage for a true listening audience: When there are long stretches where only one slide is being featured on screen, we can easily pick up a book of Shakespeare and follow the dialogue without missing any of the visual elements.

This is largely a story about an absent (but disguised) Duke who has not abdicated his responsibilities to his fellow human beings. He is out to discover whether his associate Angelo (whom he has put in his stead) has become corrupt in both his judgments and his affections. But this is also a very woman-focused story as well. Though today we may think of the preservation of a woman’s virtue somewhat differently than in Shakespeare’s day, our understanding of sexual harassment and male powerplays has not changed over four centuries later. Having a powerful man want to get his way with a woman and then say that her voice doesn’t count is very familiar territory in both “Measure for Measure” and the MeToo Movement. Although modern governments may not condemn a man for the sin of fornication, he may have to pay child support. More generally, conduct related to sexuality and reproductive rights and responsibilities have, in one way or another, always been the province of governmental jurisdiction in addition to that of organized religion.

When attending the theater in person and having a very good seat in the audience, you can sit back and watch the entertainment as it was intended. But having a seat in the last row of the upper upper balcony means that you often have to use your imagination. Watching this enhanced audio play is much like sitting in the nosebleed seats. You have to use your imagination when focusing on this story; with visuals of Cuba and the performers assisting in this process. That said, the ending seemed a bit strange and doesn’t seem to comport with Shakespeare’s original. The words remain the same, but after the dialogue ends, the emphasis seems to be somewhat different than his original intent. But, of course, this is all open to interpretation, and various productions have interpreted Isabella’s reaction very differently. In all, this rather straight-line story lends itself to an audio broadcast, and it is a good show that is well-suited to its audience.

The Chicago Shakespeare Theater’s new video-enhanced audio play of “Measure for Measure” is available as stream-on-demand through Sunday, May 16, 11:59 p.m. (CT) through the ChicagoShakes STREAM website: https://www.chicagoshakes.com/plays_and_events/explore_season/measureformeasure.

April 23rd marks the anniversary of William Shakespeare’s birthday. Do yourself a favor and take in one of the first-rate performances from the ChicagoShakes STREAM.

Digital tickets are $25 per show. All-Access membership for the series of streaming video can be for as little as $100.

For more information about this show, the series, and other shows offered by the Chicago Shakespeare Theater, please go to: https://www.chicagoshakes.com/.

Patrons who are deaf or hard of hearing can request a transcript of the show upon request through the Chicago Shakespeare Theater’s Customer Service Portal: https://www.chicagoshakes.com/about_us/contact_us/customer_service/portal.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Measure for Measure”.