It's little wonder that Measure for Measure is not one of the most commonly produced of Shakespeare's plays. With a plot centrally concerned with the legal repercussions of pre- and extramarital sex that resolves in a series of forced marriages, Measure for Measure does seem at least somewhat less accessible than the Bard's more canonical works. But this was not the case with Free Play Theater's recent rendition, which ran during the first weekend of May in a small lecture hall in the Women's Studies Research Center. Director Vicki Schairer '09 and her small cast and smaller crew offered an interpretation with a deep understanding of the play's complex questions of pride, duty and power, bringing to life a production rich in character, captivating in performance and, most of all, assured in message. The staging was simple, yet confidently executed. Each member of the six-person cast took on multiple roles, bringing to life at least twice as many characters. When not on stage, the actors sat motionless to the side, save for the subtle costume changes made to differentiate their various characters. The modern costumes indicated a reworked setting, but this decision seemed more for the sake of simplicity than any explicit dramatic purpose.

While the venue was underwhelming and the sets strictly utilitarian, the production drew its success from the strength of its acting. Each actor in each of his multiple roles delivered his lines not as recitations, but endowed with a tangible understanding of the words that can only come from endless rehearsal and dedication.

Freshman Ben Witte's turn as the duke who masquerades as a friar brought exactly the right tone to the crucial, plot-moving character. Despite some robe-related costuming difficulties, Witte imbued each of his scenes with a pointed intensity that reflected a genuine understanding of the character and plot. His scenes with the equally convincing Ernaest Paulin '09 were true highlights that displayed some of the finest acting I've yet witnessed on the Brandeis campus.

Alex Martynov '08 effectively embodied the corrupt Angelo with a brooding presence and smarmy gaze that more than compensated for the goofy accent of his secondary character, Pompey. Female star Rachel Kurnos '08 also expertly related an Isabella caught in the horrible struggle between the death of her brother and her own virtue.

The cast seamlessly ran through each act, accenting just the right scenes and hitting those punch-lines that are so often lost in amateur Shakespeare productions. The audience members moved as one to the edges of their seats when on-stage emotions ran high and fell back in laughter during the ripe portions of comic relief.

But what was clearest from the performance was not simply the talent of the cast or even the vision of the director but rather the true sense of dedication and investment displayed by all involved. Schairer and company revealed a thorough understanding of the work in all its rich complexities that knew where its priorities lay. With minimal resources and the most basic of presentations, the production ultimately achieved that most fleeting of Shakespearian accomplishments by not only keeping the audience's attention, but keeping them engrossed and captivated the entire time.