Measure for Measure – 1992

Director Mo Pearce

‘Haste still pays haste, and leisure answers leisure; Like doth quit like, and measure still for measure’ act 5 scene 1

Why ‘Measure for Measure’? My first real introduction to the play was playing Isabella in 1974. It is a great part. That production not only gave me the opportunity to work on the character of one of Shakespeare’s most forthright and independent heroines, but also led me to discover, a whole range of characters, high-life and low-life, a complex plot, and some ringing verse. This was a fascinating combination that has interested and challenged me ever since. Although ‘Measure for Measure’ is not perhaps one of Shakespeare’s best known plays it is currently very popular with professional theatre companies world-wide. According to a recently published book on the play there have been as many as nine international productions in one year. The text is open to many different interpretations and can be approached from a moral, political, social or philosophical stand-point.

But ‘The George’ is an out-door venue and ‘Measure for Measure’ is a comedy and for me that’s not a combination suited to deep, dark, intense, and introverted production. So I have chosen to interpret the play in what I hope is a broad, direct and out-going way, and I hope that you will share with us a lively and entertaining story, full of twists and turns with a good measure of the unexpected.

The play was written and first performed in 1604 at the beginning of the Jacobean period, about the same time that ‘The George’ (then The George and Dragon), was built and subsequently used for out-door theatrical performances. For the setting of this year’s play The George’s original courtyard has been enhanced in Jacobean style, and will together with costumes designed in the same period underline a traditional production. I hope that the three strands, play, costumes and set provide a really enjoyable evening and if the weather is kind, give you a full Measure for Measure.


DUKE VINCENTIO Michael Williamson

ANGELO Martin Nicholls


LUCIO Patrick Clow

CLAUDIO David Gautrey

POMPEY Ian Whiteley

PROVOST Charles Riddell

ELBOW Tony Gaskell

FROTH Ian Hooper




CRASSUS Peter Barton

BARNADINE Adrian Rigglesford

JUSTICE Adrian Rigglesford

ISABELLA Sharon Cannings

MARIANA Sheila Macdonald

JULIET Melissa Poulter



FIRST BAWD Tricia Peroni

SECOND BAWD Carolyn Noble


MAIDS/LADIES IN WAITING TO MARINA Kate Aldred, Nicola Gunton, Sharon Rudd, Cheryl Griffiths


Production Team

Director Mo Pearce

Stage Manager John Morgan

Set Design Sue Talbot

Stage Construction Nigel Callaghan & Team

Stage Crew Chris Hunnam, Peter Levitt, Bob Pugh, David White, Tony Mullins, Matthew Redmond, Gareth

Set Construction Sue Talbot, John Morgan & Members of the Company

Lighting Design Roger Blackmore

Lighting Team Roger Blackmore, Malcolm Lyons, Mel Pugsley, Andy Kendon, Ruth Taylor, Gill Butler, Graeme Hammond, Pat Hamilton

Sound Gerry Davison, Maggie Redgrave

Sound Equipment SJC Services

Properties Victoria & David Watson

Make-Up Lynda Morgan, Tricia James

Costumes Wendy Usher

Wardrobe Team Terry Dick, Jo Fradley, Marian Cook, Rosemary Eason, Trish James, Jan Sheppeard, Mo Pearce, Gladys Meredith, Vanessa Marlowe

Continuity Vivienne Dyer

Front of House & Sales Keith Phillips, Eric Usher & Team

Photographs Simon Ellis ABIPP AMPA

Publicity Martine Peulevé, Michael Williamson, Keith Phillips, Trish James & Rosie Austen

Poster Design Andrew Goold

Company Dance Director Pam Williams

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