(Not here, though.) In the case of “Measure for Measure,” there’s an argument for boiling it down to essential lines and action. That would not be so far from the conventional term for it as a “problem” play, meaning it is neither comedy nor tragedy (nor history, to be sure), but rather centers on a complication that’s resolved at the final curtain.ĬST’s aggressively distilled “Measure for Measure” is a light version that brings to mind the Metropolitan Opera’s condensed, English-language version of Mozart’s “The Magic Flute,” readily consumable by the whole family. ![]() ![]() ![]() Though it’s not without real laughs, as Chicago Shakespeare Theater’s new production generously demonstrates, “Measure for Measure” might just as plausibly be called a morality play. If Shakespeare’s “Measure for Measure” is a comedy, as it is often tabbed by scholars, it is a very dark one. Cruz Gonzalez-Cadel plays the beleaguered Isabel in “Measure for Measure.” (Liz Lauren photos) Review: “Measure for Measure” by William Shakespeare, at Chicago Shakespeare Theater through Nov.
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