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QuarryWorks delivers the satire in Shakespeare black comedy
Times Argus, August 17, 2005

By Jim Lowe Times Argus Staff

CALAIS ¯ "Measure for Measure" is one of William Shakespeare's least-performed plays - and one of his most humanly contemporary comedies.

     QuarryWorks has created a production of the black comedy, using professional and community actors, that thoroughly enjoys its delicious satire - plus a little music.

     When Vincentio, the duke of Vienna, decides to take a sabbatical, his heir-apparent's true colors begin to show. As soon as the duke has left, the puritanical Angelo forbids fornication under penalty of death. Claudio is the first to be ensnared by the law, and is sentenced to death the following day. His sister, Isabella, a novice on her way to becoming a nun, pleads for his brother's life, admitting his guilt but asking for mercy. The straight-laced Angelo agrees - if she will give up her body to him.

     What ensues is a wonderful and wonderfully funny study in human nature - so accurate in Shakespeare's inimitable way.

     The QuarryWorks production, directed by Thomas Stevens, is a largely delightful affair - pun intended - that is well-cast and lots of fun. At Sunday afternoon's performance, G. Richard Ames was perfect as the duke, particularly because of his authoritative speaking voice. Another star of the show was Heather Vittum Fitch as Isabella, convincingly pleading her brother's case, torn between losing her brother's life or her virtue.

     Some of the characters are terribly funny. Wittiest was David DiLego as Lucio, who offers sarcastic commentary throughout. Dean Burnell was witty in a much cruder way as the clown Pompey. And Elizabeth DeAngelis was delightful as the madame Overdone. (It was even funnier if you didn't realize DeAngelis was playing two roles, the other being the rejected fiancée of Angelo.)

     Jeff Tolbert was perfectly square as the hypocritical Angelo. Scott Renzoni was perfectly pathetic as the pathetic Claudio, as was William Pelton as Escalus, Angelo's brother. There are some quibbles, including frequent posturing by some of the actors rather than natural acting. One notable exception was Erica Izor who seemed perfectly real as Angelo's attendant.

     The original music by Jennifer Jolley was well-written and enjoyable and reasonably well-performed but didn't do much to enhance the play. It was the production as a whole that worked, thoroughly enjoying the hypocrisy of humanity.