Measuring Discomfort with the Long Beach Shakespeare Company

Samantha Dressel (Chapman University)

Ten minutes before the scheduled start time, Pompey ushered us into the small Goad Theater: “Welcome to Mistress Overdone’s House of Repute!  Or perhaps ill-repute…”  He continued with a non-Shakespearean soliloquy, tempting the theater patrons with other pleasures.  On the small stage, barely larger than the six rows of audience seating, a woman danced voluptuously behind a curtain, lit from behind.  The pre-show continued, mixing belly-dancing with a simulated sexual tableau of shadows frozen in position while other shadowy women stretched sensuously.  Two more women sat indolently on the side of the stage, tapping on drum and finger cymbals.

So began the Long Beach Shakespeare Company’s production of Measure for Measure, unsettling audience members who expected Shakespeare, not a whorehouse.  This push for audience discomfort was the great strength of this production, under the direction of Helen Borgers, and it was largely effective, reminding the audience that the Renaissance classification of comedy does not necessarily involve constant laughter or reassurance.  Indeed, the production chose to cut many of the scenes with low characters – perhaps a shame given the excellent performance of Elbow by Emily Hansen.  Elbow’s hickish accent, exaggerated swagger, and fierce glares ensured that Hansen stole all of her scenes.  Abhorsen, played by the petite Ruby…