This is one of the most radical and heavily cut productions of a Shakespeare play I’ve ever seen, yet it retains the essence of the piece and doesn’t feel as if it’s missing much – despite running sone 40-50 mins less than any other production.
The opening scene is rather shocking – writhing bodies in a sea of blow-up sex dolls (which stay with us for most of the play, excepting those that deflate!) – but it does make it instantly clear we’re in a debauched Vienna. The Duke leaves town, placing Angelo in charge, returning disguised as a Friar to monitor events ‘in his absence’. Claudio has been arrested and sentenced to death for crimes against morality and his sister Isabella, about to become a nun, is distraught. Power corrupts Angelo and he offers to save Claudio in exchange for Isabella’s virginity, but the disguised Duke hatches a plot.
There’s great use of live video in Joe Hill-Gibbins production, both in the relatively small stage-front playing space and in a much bigger space behind, sometimes in view, sometimes not. He gives Shakespeare’s raciest play great pace and a contemporary sleaze relevance. Miriam Buether is responsible for the clever design, with Nicky Gillibrand the costumes and Chris Kondek the video. The speedy transition to the Viennese court for the final scene is masterly. I surprised myself by enjoying it so much, not really offended by the liberties taken.
The three central performances are terrific – Paul Ready as the righteous Angelo who becomes a sleazeball, Romola Garai as the virginal Isabella and Zubin Varla as a very passionate Duke. They have fine support, particularly from John Mackay, who makes much of Lucio, and Hammed Animashaun as the Provost.
The Young Vic leading the way with fresh, inventive productions again.
Gareth's Culture and Travel Blog 
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