The cast of “Desperate Measures” at Constellation Theatre Company. Photo by DJ Corey Photography.
“Measure for Measure” is a problem play. “Desperate Measures” is a problematic musical.
To be sure, director Allison Arkell Stockman’s current production at Constellation Theatre Company— the latest in the long line of shows that she has helmed at the company she founded—is up to her usual high standards. I have never been disappointed by the quality of a production itself at Constellation, though sometimes the innovative D.C. troupe’s work exceeds the material with which they are working.
…usual high standards…strong cast…a fun play.
Five years ago, Peter Kellogg and David Friedman took Shakespeare’s “Measure for Measure,” a 1604 work labeled a “Problem Play” by scholars because it could not fit into any simple categorical box, and turned it into “Desperate Measures,” a comedic musical set in the American Old West. They dealt with the textual confusion by stripping out most of the plot—leaving, as a character announces in brief prologue—“all the sex stuff in.”
The issue is that the “fun” parts (the “sex stuff”) is about sexual coercion. In the original play, Angelo, the autocratic overseer of Vienna, agrees to free the condemned brother of novice nun Isabella if she will have sex with him. The “hijinks” that ensue revolve around efforts to trick Angelo by swapping in a sex worker for Isabella and letting him think he’s gotten his way.
The names and location are changed, but this is the plot of “Desperate Measures.” Though this sort of plot may not have been outrageous in the early 17th century, it’s baffling that two, male theatre artists decided to revive it in 2017, the year that #MeToo went viral. In short, I am not sure why this musical was created or why Constellation decided to do it now.
But it does, and Constellation does a good job with it. It’s a broad farce, and each member of the strong cast plays their part with cartoonish whimsy. These are not real characters, they are tropes, and the actors realize that and revel in it. Greg Watkins brings the glee of an early Bond villain to the Governor, the musical’s Teutonic counterpart for Angelo, and Julia Link exudes an “Annie Get Your Gun” spunk as young nun-in-training, Susanna.
Nina-Sophia Pacheco steals all her scenes as Bella Rose, the proud and savvy sex worker who joins the scheme against the Governor as much to have some fun as to bring justice to Susanna’s jailed brother Johnny (a delightfully doleful Hunter Ringsmith). The cast is rounded out by the sensitive sheriff played charmingly by Tyler Dobies, and Bobby Libby’s amusingly conflicted Father Morse.
An onstage quartet led by pianist Refiye Tappan keeps up the jaunty pace, and Nikki Mirza’s choreography is crisp and effective. The scenery by Samuel Klaas, costumes by Jeannette Christensen, lighting by E-hui, and sound design by Kevin Lee Alexander all meet Constellation’s exacting norm.
In the hands of Stockman and the Constellation team, “Desperate Measures” is a fun play. But its “problem” nature persists, albeit in a new way, in a new time.
Running Time: Two hours and 10 minutes with one intermission.
“Desperate Measures” runs through March 17, 2024, at Constellation Theatre Company at Source, 1835 14th Street NW, Washington, DC. For more information and to purchase tickets, go online.
