Measure for Measure is one of Shakespeare’s ‘problem plays’, classified that way because it doesn’t fit neatly into the comedy, tragedy or history categories of his repertoire. Its awkward categorisation is possibly one of the reasons why it is less known and less performed than other more obvious plays. For centuries the play was largely neglected, or – on the few occasions when it was performed – it was redacted and altered in such a way that tried to resolve the moral problems presented by Shakespeare in a more acceptable form to the mores of the day.

Sandie Von Brockdorff delivered a highly nuanced and credible performance as Isabella – the central character in the play; she was indeed a pleasure to watch.

It was a pleasure, therefore, to get to watch the original and unedited version being staged by WhatsTheirNames, produced over two weekends at the former Splendid building in Strait Street, Valletta.

In staging the play in its original setting, the production successfully managed to balance the conflicting themes – or ‘measures’ – that the script presents. Justice, purity and mercy are placed in sharp contradiction to corruption, hypocrisy and the strict imposition of the law, climaxing in a final scene where moral justice is juxtaposed against civil justice.

It also centres on the role played by men in a patriarchal society, and the fate of women who are forced to submit to the whims and wills of that patriarchy. Shakepeare’s other foray into that particular debate is to be had in The Taming of the Shrew, which ends on a somewhat jarring note. Measure for Measure presents a more balanced, yet no less frustrating picture – at least from women’s perspective.

The cast is pared down to a mere seven members who all play multiple characters, with the exception of the Duke (Jonathan Dunn) and Escalus (Philip Leone Ganado, who also directed the production), who stick to playing a single role – albeit the Duke spends most of the play disguised as Friar Lodovick. It was hard to find fault with any of the performances on the night I watched, but I was particularly struck by the exquisite performance of Sandie von Brockdorff as Isabella.

Isabella is the central character in the play, faced with the ultimate dilemma: to save her brother’s life by giving up her virtue, or to save her virtue and leave him to die for a crime for which he was condemned according to the letter of the law. Von Brockdorff’s performance was a highly nuanced one, and credible to the core; she was indeed a pleasure to watch.

It showcases Shakespeare – and indeed, one of his less popular plays – at its very best

Michela Farrugia played the remaining female roles in the play, chiefly that of Mariana, who Shakespeare seems to deal a somewhat cruel fate by having her forced to marry the corrupt Angelo, played by Joseph Zammit. Although her presence on stage was far more limited than that of Von Brockdorff, Farrugia more than shone through with her stunning, bluesy delivery of “Take, oh take these lips away” in Act IV.

The comedic element of the play was largely delivered by Joe Azzopardi and Nathan Brimmer, who played no less than six roles between them, all highly energetic and vital in keeping the pace of the play marching on tightly. Azzopardi’s shifts between Lucio and Elbow were excellently executed and his interjections as Lucio during the final trial scene had the audience in stitches. Brimmer’s Pompey was no less exquisite.

The more sombre roles are reserved for Escalus, Angelo and Claudio (both played by Joseph Zammit). Here again, there were no weak links in the production as both players delivered polished performances. In playing the villainous Angelo, Zammit thankfully delivered much of his lines in a more neutral and deadpan tone, even though the role is written in such a way that makes it all too easy to lapse into melodrama.

The overarching character in the play is ultimately that of the Duke, who takes on the role of a puppet-master, largely controlling the destiny of all the other characters in the play. Whether this is a flaw in the play, or whether Shakespeare deliberately intended to use the Duke as an ultimate form deus ex machina, swooping in to save the day and the fate of his subjects, is one that can be discussed at length.

The Duke spends almost the entire play disguised as a friar, actively meddling in the plot line and directing the action from within. Dunn played the duality of the role decisively, with only slight but highly effective modulations, such as switching from a Scottish to a Yorkshire accent to distinguish between the characters.

I cannot but reserve a final mention for the music performed and composed by Maria Elena Farrugia, which she played from a discrete corner of the room throughout the play. In a small and intimate performance space such as the Splendid, bereft of a set, the music took on significant importance as it set the mood and tone for many of the scenes. On this, Farrugia is to be commended in that she managed, in the subtlest of ways, to capture the right sound throughout.

This is a highly commendable and well-directed production that showcases Shakespeare – and indeed, one of his less popular plays – at its very best. It discusses themes that are eternally valid, perhaps more so today as we still debate the need for moral and civil justice in society, and exposes Shakespeare’s genius as a writer not only for his time for all times.

Measure for Measure runs until today, at the Splendid, in Strait Street, Valletta.