Shakespeare’s weighty themes get a light touch in aura’s ‘measure’

By Catherine Jozwik

Published Nov. 29, 2019

Considered by some a “black” comedy, many critics have had difficulty categorizing William Shakespeare’s play “Measure for Measure,” first performed onstage in 1604. Aura Theatre Collective performance of the play at the Irish Cultural Center Sunday afternoon proved one thing, however. Shakespeare’s take on justice, equality and gender roles is just as relevant today considering the #metoo movement, perhaps even more so than it was in Elizabethan England.

Angelo, the play’s dishonorable sheriff, echoes many powerful male celebrities and politicians today who are under investigation for sexual assault and harassment; while Isabella could represent millions of women who have been the recipient of unwanted sexual advances and have been scorned or disbelieved by people in authority. And, throughout history, there have certainly been many Claudios willing to sacrifice a sister’s (or mother’s, or niece’s) happiness to suit themselves. 

“Measure for Measure” is the first production for new local organization Aura, which was formed by Kira Renkas (who performed the dual roles of Mariana/Attendant in the play) last year. With minimalist sets designed by Posy Knight and Margot Lange’s modern-day costumes, coupled with fine acting, the play, directed by Jaimelyn Gray, was able to highlight Shakespeare’s eloquent (if not somewhat difficult) language and compelling plots and put them in a present-day context.

“Though there have been many iterations in its 400-year history, this “Measure for Measure” is a #metoo story. Look at legislation in this country and see how (MALE) legislators are trying to turn back the clock…where women won’t have a say over their own bodies,” writes Gray in her Director’s Note. 

 Although “Measure for Measure” explored serious themes, wonderfully illustrated by the talented cast, including Laker Thrasher as Isabella, Timothy J. Barnes as Angelo, Jarrod Langwinski as Claudio and Randall T. Anderson as Duke Vincentio, the play was peppered with levity and comedic moments. Logan Milway was fantastic as would-be cad Lucio, and Liz Ehrler (who showed off some agile burlesque-inspired moves) did a marvelous job with the ribald role of Mistress Overdone and the role of Mother Superior. Stephen Granam as the Provost, Tom Marks as Escalus, and Colin Kovarik as Friar Peter were also well-cast in their supporting roles.

Although each actor seemed to know their lines well and appeared to speak Shakespeare’s complex language fluently, some cast members were difficult for the audience to hear, without the aid of microphones and given the Irish Cultural Center’s auditorium (a former church built in 1887) acoustics. However, the venue, a historic landmark with velour-cushioned pews, gorgeous stained glass, and plenty of charming architectural details, was an ideal place to hold a performance of a play written by the world’s most famous dramatist.