Unmeasured - Wildflower Productions

Content Warning: This show contains topics that may be sensitive to some viewers.

In the darkened basement of a church, a woman screams out in pain and for justice. Six women, shrouded in cloth and chanting choral hymns proceed down the aisles holding heavy candlesticks, heading towards their designated stations. When the lights come up, there is only a long table on the front of the thrust stage, with a communion wine goblet, a bucket, several cloths, and a dagger. An ornate chair sits on an elevated platform decorated with velvet fabrics and cushions, a place of reverence and judgment. So begins Wildflower Production’s “Unmeasured”, a timely adaptation of one of William Shakespeare’s more muddled and complicated plays, “Measure for Measure”.

To those unfamiliar with the text, “Measure for Measure” involves the novice nun Isabella forced to potentially give up her vows and virginity to a corrupt deputy named Angelo in order to save the life of her brother, Claudio, from his capital punishment of fornication, or sex out of wedlock. Through a series of deceptions that, at the time, were considered somewhat comedic, Isabella finds a surrogate willing to replace her as Angelo’s bride, but Angelo reneges on his promise to pardon Claudio. “Unmeasured” is a hypothetical trial between these moments of the play. A kind of “Law and Order: Rosencrantz and Guildenstern Edition” with more of the comedic elements taken out to refine the rough edges of the story into a fine diamond of a courtroom drama. It reflects the theme of those who abuse power within unjust laws and systems, versus those facing punishment and ridicule for defying them.

Wildflower Productions and director Dawn Youngs create strong tableaus and imagery with the blocking and placement of each character. Playing members of Isabella’s nunnery, they gather to determine if Angelo is worthy of mercy or punishment and seek justice for Claudio. The Elder, played by Youngs, serves as the judge to the proceedings. Both blindfolded and sitting on the ornate chair, she resembles the Justice tarot card for all the world and carries this gravitas in her performance. Defenders and apologists of Angelo sit on one side, while the loved ones of Claudio (including Isabella and his pregnant lover Juliette) sit on the other. The defense and prosecution argue and re-enact the crueler and more desperate moments found within the text of the play, interwoven with court dialogue that is not out of place with the Bard. Victims are blamed and shamed for enticing men, and gaslighting is used to deny the testimony of witnesses. Many modern productions of “Measure for Measure” sprung up after the #MeToo movement, but “Unmeasured” cuts out all the superfluous moments and focuses on the more dramatic elements. While I found the proceeding fairly clear due to my familiarity with the play, I cannot guarantee that everyone will find it as accessible (but that can be said of Shakespeare in general).

Dominique Lorae plays a strong and vocal Isabella; she has a fire and energy of character that wants to seek justice for her brother. Her main foil is Marianna, the surrogate bride who has come to love Angelo, and seeks his pardon for the sake of her marriage and reputation. The costumes by Cait Lambrecht feel period accurate with rough textured but natural fabrics that keeps the show grounded in the common lives of the baroque women. The choreography and music – either organ accompaniment or sung hymns – provide a solemnity and gravity to the proceedings that maintain the atmosphere throughout the entire show. The events of the trial never slowed in pacing, and the final judgment had a distinct impact that, while not comforting, unfortunately applies in many ways to the outcomes of the modern justice system. If you have a love of modern interpretations of Shakespeare with unrelenting, bold vision, “Unmeasured” is the show for you.