Measure for Measure
The Royal Shakespeare Theatre
Stratford upon Avon
★★★★

THERE have been as many varying treatments of Shakespeare’s tragicomedy as there have been productions. The plot and characters of what is possibly his most dialectical play involves a duke who, despairing of the sexual corruption rife in his domain, leaves his deputy to cope with it while at the same time disguising himself to watch how his experiment works out. It raises questions rather than answers.

Consequently, this has been seen as one of his “problem” plays, particularly interesting for modern audiences — that is since the beginning of the 20th century — when the moral certainties and self-assurance of earlier times had begun to fracture.

We know where we are, however, when Emily Burns’s new production opens against a background of filmed infamous sexual miscreants ranging from presidents Clinton and Trump, Epstein and our own royal scallywag Prince Andrew.

One of the key questions raised by the play — what are Duke Vincentio’s motives in appointing the puritanical Angelo to clean up Vienna’s degenerate society? — is here quickly answered: he’s clearly aware that his stand-in will not be up to the job.

Indeed, in what is virtually a re-edit, involving creating new scenes, cutting others and adding dialogue in (admittedly convincing) cod Shakespearean language, she has substantially simplified the play, possibly in the interests of serving contemporary audiences less willing to engage with ideas.

When Tom Mothersdale’s up-tight Angelo, determined that there should be an exemplary execution of Oli Higginson’s Claudio (arraigned for fornication), is begged to show mercy to the unfortunate youngster by his sister, Isabella, his icy surface melts with lust for this would-be nun. She is shocked by his proposal that she should sleep with him in return for her brother’s life.

Isis Hainsworth’s Isabella has a schoolgirlish innocence mixed with a steely determination. Interestingly, a key line: “Greater than our brother is our chastity,” which often loses the character sympathy, is here cut.

Adam James’s Duke, hardly believably disguised as a visiting Friar by only a dog collar, spectacles and a clerical purple vest, is on hand to sort out the complications.

Some of Emily Burns’s additions work well, such as the scene when Isabella is “educated” in the ways of the world by Mariana, who Duke Vincentio has arranged to replace her for the one night stand. Other additions, like the subsequent bedding when the two women play out a bondage game on Angelo, is surely there to spice up the comedy. Or could it have been an intended dream sequence? Interesting!

Frankie Bradshaw’s simple all-purpose black and white set is functionally ideal for this questioning play even if this enjoyable production isn’t particularly interested in the questions themselves.

Runs until October 25: Box Office 01789331 111, rsc.org.uk