Measure for Measure had its first performance in 1604, but it remains as timely as ever. Did you know that the play even holds the title for most “six seven” references in a Shakespeare play with two?! (It’s actually a tie with Henry IV, Part 1…) How 2026. How 2025.
All joking aside, the play remains timely for much more challenging reasons. Read this quote and guess who said it: “There is a sickness on goodness. Novelty is the only thing in vogue. There isn’t enough truth to make societies secure. This news is old, but it is everyday news.” You probably guessed it! That’s a modernization of one of the lines in Measure for Measure.
Yet this play is generally thought of as a comedy. And we haven’t even gone over the plot! Which, at its most succinct, is a quid pro quo threat of assault. The reason for the labeling of “comedy” is that there are marriages in the end (two or three, depending on the production) and no deaths. And, while there are funny moments and characters, the reality remains that this is one of Shakespeare’s “problem plays.” Our Dramaturg, Colin, has more on that and I highly recommend you read his notes, if you haven’t already.
Directorially, my focus has been squarely on making sure our production is an active, engaging story as opposed to an allegory or social commentary. Measure for Measure might contain one of Shakespeare’s most clear moral lessons, but it is morally unsettling while doing so. How do we, in the audience, follow Isabella’s journey as we believe in her, fear for her, root for her, and watch her figure out how to fight for herself, her values, and her community.
Ultimately, A.R. Braunmuller and Robert N. Watson, Editors of The Arden Shakespeare’s 2020 edition, give us a succinct summation of the play at the beginning of their Introduction: “Measure for Measure is a cobbled-together mess and a true masterpiece.” And we are thrilled to be wrestling with this challenging piece, and bringing it to you as best as we’re able, right here on the Lawn.