Date: Fri 12-Feb-1999

Publication: Bee

Author: DONNAM

Quick Words:

Yale-Rep-Measure-Bard

Full Text:

(rev "Measure For Measure" @Yale Rep)

THEATRE: An Updated Bard At Yale Rep

(with cut)

By June April

NEW HAVEN -- Yale Rep's current production, Measure for Measure , has proven

to be quite a memorable display of The Bard's genius. It is dubious whether

Shakespeare would have approved of this updated presentation, but it certainly

made an impression... in a ribald, Rabelaisesque style.

With the nudity and the use of cellular phones, Yale's Measure is not for the

modest soul of the Shakespearian traditionalist. It is, however, found to be

stimulating and entertaining.

There is a truly intriguing set. It strikes one as a grid that one uses to

measure things by. Is there an intended correlation with the title? The

concepts are terrific and strong. Applause to Rachel Nemec's creative genius.

The sexual note was more blatant than need be. Sometimes a hint of nudity can

be far more erotic. Clad only in a diaphanous curtain, Isabella is transformed

before the eyes of the audience from a gossamer, protective cocoon and then

thrust into the harsh light of reality.

The nude Claudio, on the other hand, seemingly cast as a Jesus-figure on the

cross, could have been even more intriguing with a hint of loin cloth.

Excesses doth mar this production. The urination/mooning scene early on was

situated high above the stage, but it certainly was not on a higher plane

intellectually. It seemed of dubious value, as were the blinding lights and

painfully loud music. Subtlety was wanting: it is, after all, a small theatre.

This special project of the Yale Drama School Graduating Class had some

splendid examples of fine acting. Adrian LaTourelle, looking remarkably like a

taller Aristotle Onassis, was wonderfully evil. Adrienne Dreiss was a lovely,

virtuous and credible Isabella. (It should be noted that roles are played by

different actors during various performances.)

Liberties were taken with the characters, albeit Shakespeare did play around

with switching sexual identities. In the original play, Escalus is an old man.

In the Yale production he's a she, played very well by Joanna Glushak.

The Duke Vincentio character got better as the play went on. Initially, actor

John Ecklund spoke too rapidly to be understood and was almost monotone. When

he changed his garb to assume the guise of a monk, he did a much better job

projecting and breathing life into his role.

Though the role is "a clown" in the original script, "Pompey" was the Yale

version. Puckish and smutty, Jim Hart gave of himself fully to this character.

The characterization of the jailer, Elbow, the executioner Abhorson

(brilliantly played during the reviewed performance by Graham Shiels), and

Pompey were tantilizingly raunchy in their comic relief.

(Measure for Measure plays through February 20 at Yale Repertory Theatre on

the corner of Chapel and York Streets. For further information, or to obtain

tickets, telephone the box office at 432-1234.)