*SPOILER*
This production is terrible. It blatantly sets aside or resolves ambiguities essential to the play's central metaphor; can there be charity in sin?
Mr. Davis, who obviously had no academic understanding of Measure for Measure, has managed to destroy this amazing play.
How can Lucio, a notorious womanizer be constantly and consistently colored with such paints of homosexuality as a heavy cake of rouge and a pearl stud in his left ear?
How can Claudio lovingly embrace his sister who, at their last meeting promised to pray for his death a thousand times, accused him of incest and told him that if she could save him but by bending down would let his execution proceed?
How can Isabella, a moral absolutist of the highest regard, who would not find charity in fornication to save her brother's life and who has found station as an initiate in a nunnery, so willingly accept the Duke's marriage proposal?
How Can Angelo set aside all cunning and tricks of his office to approach Isabella with such aggression that it at times borders on violence?
If I want Shakespeare, and I want the BBC involved, I'll stick to Trevor Nunn, thank you.
This production is terrible. It blatantly sets aside or resolves ambiguities essential to the play's central metaphor; can there be charity in sin?
Mr. Davis, who obviously had no academic understanding of Measure for Measure, has managed to destroy this amazing play.
How can Lucio, a notorious womanizer be constantly and consistently colored with such paints of homosexuality as a heavy cake of rouge and a pearl stud in his left ear?
How can Claudio lovingly embrace his sister who, at their last meeting promised to pray for his death a thousand times, accused him of incest and told him that if she could save him but by bending down would let his execution proceed?
How can Isabella, a moral absolutist of the highest regard, who would not find charity in fornication to save her brother's life and who has found station as an initiate in a nunnery, so willingly accept the Duke's marriage proposal?
How Can Angelo set aside all cunning and tricks of his office to approach Isabella with such aggression that it at times borders on violence?
If I want Shakespeare, and I want the BBC involved, I'll stick to Trevor Nunn, thank you.