Exploring Morality, Sex and Power

Measure for Measure – Chicago Shakespeare Theatre

In this colorful and spicy adaptation of Shakespeare’s 1604 comedy, transplanted to 1950’s Havana, Cuba, we find one of theater’s earliest dramatization of women being given a voice of rebellion. Shakespeare gave Kate the opportunity to rail against men in “The Taming of the Shrew.” But female protestation against a male-dominated world, in which men think they have the right to manipulate and control women, is an inequity that’s been going on for centuries. Of course, the current Me Too Movement is the recent need to call attention to the double standards that often take place between genders. It’s a problem that was, and continues to be, so blatant everywhere, particularly in the entertainment industry. In one of Shakespeare’s last comedies, often dubbed a “problem play,” he presents a story that explores morality, sex, power, and the double standards that are so often present in leadership.

The Duke gives the impression that he’s leaving the capital for a while on business. He appoints Angelo to be his deputy, giving him the power to rule in his absence because Angelo has shown to be the most law-abiding citizen. Once on his own, Angelo becomes critical of the Duke’s indulgent, open-minded rule, and believes the city is now a hotbed of immorality and corruption. Angelo sets out to rectify this situation. His first act is to tear down all the brothels. He also closes the nightclubs that permit cross-dressing, gender fluidity and decadent behavior. He then reinstates an old law that will put to death any man who has had sexual relations with a woman, without their being married.

Claudio, a young nightclub singer at Mistress Overdone’s establishment, plans to soon marry his girlfriend, Juliet. But since she happens to be already pregnant, Claudio is immediately arrested and sentenced to be executed the following day. Lucio, and other regulars of Mistress Overdone’s house of ill repute, are shocked by this brutal decree. Claudio decides to pay a visit to the convent where Claudio’s sister, Isabella, is a novitiate and about to take her final vows as a nun. Lucio persuades Isabella to visit the palace and beg Angelo to spare Claudio’s life. When she does so, Isabella is horrified when the power-hungry Angelo tells her that he’ll gladly spare Claudio’s life if Isabella will sleep with him.

Naturally, Isabella turns down Angelo. Appalled and disgusted, the young novitiate has no idea where to turn for help in exposing this corrupt official. Filled with trepidation, Isabella threatens to expose the sexist tyrant, but she asks, “To whom shall I complain?” And, just like all the men who’ve been exposed through the Me Too Movement, Angelo replies that the question is, “Who will believe you?” Isabella’s words remind us of the many conversations involving male predators who believe they can get away with anything. 

However, the Duke, who’s disguised himself as a friar, in order to observe how Angelo’s doing running the city, overhears Isabella sharing her upsetting news with her imprisoned brother. The Duke knows that Angelo has a fiancee, the lovely Mariana, who he’s treated horribly. He helps Isabella and Mariana plan a deception in which Mariana will disguise herself and pretend to be Isabella. After Angelo sleeps with Mariana out of wedlock, the deputy will be arrested and put to death, ironically under his own law. But the story isn’t over quite yet and several more complications arise before justice is served.

Henry Godinez’s rapturous, electrifying production feels like it was always intended to take place in pre-Castro Cuba. A native of Havana, Mr. Godinez has brought the pulsating Latin vibe, music and sensuality of the island to this likable, streamlined adaptation. His production is about hypocrisy versus self-righteousness, something he remembers experiencing in his native land. This production features a predominately Latino cast and artistic support team. Rasean Davonte’ Johnson has designed a sparse set, festooned with curtains and draperies, upon which dozens of photos and films are projected. Raquel Adorno costumes her cast with unmistakable flair and finesse. The pre-show prologue, which establishes the locale, eroticism and wild decadence of a Havana nightclub, is especially colorful and fun. Richard Jarvie adds accent with his exquisite hair and makeup designs. And Maria-Cristina Fuste’ lights the production with dramatic colors and tones.

As always at Chicago Shakespeare, the entire cast is both gifted and talented and blazes with competence and excitement. Cruz Gonzalez-Cadel makes her CST debut as the heroic, defiant and determined heroine, Isabel. While the actress has appeared at Teatro Vista, the Goodman, Lookingglass and many other Chicago theaters, this may be the breakout role that will propel her to stardom. Mr. Godinez has guided this play to make it truly Isabel’s story, and he has the perfect actor in this leading role to make it happen.

Kevin Gudahl, a talented fixture at the Navy Pier theater, makes a strong Duke. His compassion for Isabel and the difficult situation in which his deputy has placed her, reawakens the Duke to the realization that absolute power corrupts absolutely. Dashing Adam Poss, another brilliant actor who’s left his indelible mark on so many excellent Chicago productions, plays Angelo. At first his character seems to simply be trying to make his city a better place in which to live. But as his methods become more cruel and self-serving, Angelo turns into the play’s evil antagonist. In this portrayal, as in his other performances, Mr. Poss plays Angelo with a subtle hand.

Andres Enriquez, who’s a magnificent actor/singer, evidenced by his roles in Teatro Vista’s Jeff Award-winning “Over the Border,” and Porchlight’s “A Gentleman’s Guide to Love and Murder,” does a fine job playing Claudio, Isabel’s victimized brother. Gregory Linington is a likable cad as Lucio, whose dialogue sounds totally natural and realistic; the always incredible Elizabeth Ledo, fresh off Drury Lane’s “Steel Magnolias,” is magical and captivating as Pompey, a pimp with a great sense of humor, rhythm and style; and handsome Robert Schleifer makes the prison Provost a truly memorable character, as he radiates dignity and authority, delivering all his dialogue through the visual poetry of American Sign Language. Bravo to casting director Bob Mason for making this production so totally all-inclusive. Schleifer’s ASL is vocalized with expression by Kidany Camilo as Espuma.

The cast also includes excellent performances by Ana Santos, as the madame, Mistress Overdone; Lanise Antoine Shelley as Angelo’s strict second-in-command, Escalus; Felicia Oduh as Claudio’s pregnant wife-to-be, Julietta; Alejandra Escalante makes a strong, revengeful Mariana; Kierra Bunch is alluring as Francesca; Joe Foust, a popular and versatile Chicago actor, who’s literally been seen practically everywhere, is hilarious as a skimpily-dressed nightclub patron and, later on, as the dorky Elbow; Sandor Menendez is powerful as Abhorson; and the long-incarcerated Barnadine, who almost loses his head, and is usually portrayed by Debo Balogun, but was beautifully played with passion on opening night by understudy, Ajax Dontavius.

Henry Godinez’s stirring, original and re-imagined production of one of Shakespeare’s more difficult plays, has incorporated so much of his heritage and personal experience to the story. As a young man growing up in Cuba he witnessed firsthand the prejudice rampant in his homeland and Mr. Godinez has strived to bring this, plus the element of hypocrisy, to Shakespeare’s work. The director has shown, throughout the play, the intoxication that power offers through both Angelo and the Duke, as well as with several of the supporting characters. He’s also used the Bard’s play to support the Me Too Movement with a unique voice. And he’s incorporated music and comedy to contrast with the darker, more dramatic plot elements that appear later in the play. In all, this is one fascinating and enthralling version of Shakespeare, filled with contemporary ideas, that will certainly appeal to everyone.

Highly Recommended

Reviewed by Colin Douglas

Presented October 21-November 27 at Chicago Shakespeare Theatre, in the Courtyard venue, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.