Yesterday we hosted one of our regular Shakespeare readings at home. The company was jolly and the food delicious, if very simple (crudites with organic hummus to start, then homemade veggie soup with homemade crusty bread at the halfway point, and strawberries and Lindt Lindor Extra Dark choccy balls for the final act!). With the help of some French organic cider and a very good Pinot Noir, the group launched into Measure for Measure with great energy, scrambling bravely over the rocky bits (French velvet and English kersey) and breaking out every so often for a spot of outrage or insight as we are wont to do. We were delighted by the variety of temperaments our readers captured in both large and small parts, with a menacingly sepulchral Angelo, Lucio as a canny, sassy, irreverent ne’er-sit-down whose wordplay gleamed like swordplay, Francisca sporting an Irish accent, a self-righteous Elbow, a truculent Barnardine, the passionate virgin Isabella, and all the other characters whose hilarious and shocking contrasts only fully emerge when embodied.

The play was, as always, very timely. We yielded willingly to the Bard’s genius in creating characters, situations and wordplay that make us laugh uproariously while reflecting on themes of moral hypocrisy, the unequal values placed on the testimonies of women and men, the power-relationships of relative rank, money, reputation, class and gender, over-legislation and interference by the state, and the obsession with sex as a focus for legislation and judgement due to supposed “public interest”, with repression the chosen tool despite the evidence of history that it is neither possible nor desirable to “geld and splay all the youth of the city” (Pompey to Escalus, MforM Act II Sc i).

These topics are so ubiquitous and familiar still from our own everyday politics that it’s hard to blame anyone who takes up an attitude as cynical as Lucio’s, determining simply to follow whichever path (and suck up to whichever power source) is likely to lead to the greatest personal licence right now. However, in Shakespeare’s time one had a lot less choice about one’s position and advancement in society (at least relative to those who live in more or less democratic cultures now — I know that the majority of the world still lacks this privilege). Why don’t those of us who can in the 21st century require our leaders and opinion-formers in church and state and media to concentrate on education, health, gender equality and poverty relief or any of the other things where their intervention could actually be useful, rather than spending our time and our money on the prosecution of people whose service exists because of society’s need and desire to use it?

I say this in connection with “The madam, her girls and a city in fear” in the Mail&Guardian. How much has changed since Shakespeare wrote Measure for Measure? Well, I smiled as I thought that it seems clear that the primal needs and the political motivations of the players haven’t altered at all, but at least there is a possibility that Mistress Overdone may get more airtime. That, at least, brings a bit of balance to the exploitation equation.

Overall, the play’s a peachy preach on a theme that’s too little heard these days:

And I love the open question at the end… did Isabella say yes to Vincentio?

Tia Azulay 13May07
Copyright © 2007 Tia Azulay