Review: The Old Globe’s “Measure for Measure” is a well-acted, thoughtful production

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Playing through July 12th

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Some Shakespeare plays fit neatly into a category. “Measure for Measure” does not.

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Often labeled one of Shakespeare's "problem plays," it refuses to settle comfortably into comedy or tragedy. Instead, it explores justice, hypocrisy, and mercy through a story full of moral contradictions and tonal shifts. Director Vivienne Benesch wisely leans into those contradictions rather than trying to smooth them over, delivering a very clear production of this historically challenging play.

The Duke of Vienna ( Ato Blankson-Wood ), whose city has become morally lax, rather than enforcing the laws himself, announces he is leaving the city and appoints his deputy, Angelo ( Sam Lilja ), to restore order, along with the established judge Escalus ( Bruce Turk ). Secretly, however, the Duke remains in Vienna disguised as a friar, watching everything unfold.

Angelo immediately begins cracking down, including sentencing Claudio (David T. Patterson) to death after discovering that Claudio’s s fiancée Juliet (Kayce Wilson) is pregnant before they are officially married. Desperate, Claudio asks his friend Lucio ( Calvin Leon Smith ) to seek out his sister Isabella ( Amelia Pedlow ), who is days away from taking her final vows as a nun. Claudio hopes she can plead for mercy on his behalf. She does—but soon discovers that Angelo's public morality hides private corruption when he offers to spare Claudio's life in exchange for Isabella sacrificing her own virtue.

Meanwhile, Vienna's underworld continues carrying on despite the crackdown. Mistress Overdone ( Katie MacNichol ) keeps her brothel running while her employee Pompey ( Reza Salazar ) is arrested by the spectacularly inept Constable Elbow ( Daniel Petzold ). Through it all, the Duke, disguised as a friar, inserts himself into everyone's business in increasingly elaborate ways.

Pedlow is excellent as Isabella, balancing intelligence, conviction, compassion, and unwavering faith. She commands every scene while navigating choices with quiet strength. By the end, one can't help thinking, "Someone please just let Isabella become a nun already." She has suffered enough from the schemes of the men around her.

One of the production's most effective choices is Lilja's portrayal of Angelo. Rather than presenting him as obviously villainous, Lilja allows Angelo to initially appear disciplined, thoughtful, and even likable. His rapport with Turk's wise and compassionate Escalus makes Angelo's eventual abuse of power all the more shocking, drawing audible reactions from the audience. Turk is poised and trustworthy as Escalus, bringing reason and steady judgment to a city desperately lacking both.

Blankson-Wood's Duke is measured, thoughtful, and undeniably charismatic—but also maddeningly committed to elaborate schemes. Rather than simply governing his own city, he orchestrates increasingly convoluted manipulations to test his deputy, conceal the truth, and teach lessons about justice and mercy.

It raises one persistent question throughout the evening: Duke...why all the shenanigans? Just grow a backbone and take charge.

David T. Patterson’s Claudio is warm and sincere, making his plight genuinely affecting. Katie MacNichol provides lively comic relief as Mistress Overdone, and Reza Salazar is entertaining as the quick-talking Pompey. Daniel Petzold 's delightfully confused Elbow recalls “Much Ado About Nothing”'s Dogberry with his confident misuse of language and wonderfully befuddled logic.

One of the production's best pairings is Calvin Leon Smith 's Luci with Blankson-Wood's Duke. Lucio is flashy, funny, and morally flexible, and together they create some of the evening's funniest exchanges, their back-and-forth providing much-needed levity amidst the heavier moral debates.

As a director, Benesch understands exactly what kind of play this is. Rather than trying to force it into being either comedy or drama, she embraces its shifting identity. The production functions as a comic morality tale filled with characters who all exist somewhere in the gray. The dry wit and the social satire feel surprisingly modern despite being more than four centuries old.

Lex Liang 's scenic and costume designs are beautiful. The three-story set of balconies and staircases makes beautiful use of the Festival Stage, while the costumes effortlessly blend contemporary tailoring with timeless theatrical elegance.

Russell H. Champa 's lighting beautifully complements the outdoor setting, while Melanie Chen Cole 's sound design ensures every line is heard clearly throughout the theatre. Javier Velasco 's movement and choreography keep the large cast moving fluidly through the production.

Even if the Duke's endless machinations may leave you questioning his judgment, this beautifully acted and thoughtfully staged “Measure for Measure” proves there is plenty worth measuring here.

"Measure for Measure" is playing at The Old Globe Festival stage through July 12th. For ticket and showtime information, go to theoldglobe.org

Photo Credit: The cast of Measure for Measure , 2026. Photo by Rich Soublet II.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/san-diego/article/Review-MEASURE-FOR-MEASURE-at-The-Old-Globe-20260625)._