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Shakespeare's gripping tale of sex, death and justice.

 Post-war Vienna is seething with corruption and sex. When Claudio is faced with the death penalty for premarital sex, his only hope lies with his sister, Isabella. The young nun is faced with a terrible choice: sacrifice her chastity to save her brother’s life, or let her brother die, knowing only she could have saved him.

From Director Adam Immerwahr:

 When Shakespeare wrote Measure for Measure, there were no female actors; all the women in the piece would have been played by prepubescent boys. The majority of Shakespeare’s audience stood (on a mixture of hazelnut shells and mud) for the entire performance and stayed afterwards to watch a brief jig. There were two pillars, blocking the view of the stage from the cheapest standing room area, and from the most expensive seats one could only see a fraction of the stage. Actors were given little to no rehearsal, and never had access to a complete script. A prompter fed them lines when the actors forgot them, and there was no director. It was often hot and humid, and the mid-afternoon London sun shown directly on the audience, so as not to bleach the expensive costumes. If it rained, everyone got wet.

Obviously, we’ve had to make some changes.

This Measure for Measure uses dance, music and theatrical performance to get to the core of Shakespeare’s most nuanced play. Set in corrupt, post-war Vienna, it tells the story of Isabella, a young novice. When her brother faces the death penalty for premarital sex, she is faced with a terrible choice: sacrifice her chastity to save her brother’s life, or let her brother die, knowing only she could have saved him. Blending Claudine Lott’s unique dance vision with the music of Hahn, Massenet and Faure, this unique arts collaboration offers a Measure for Measure for the 21st century.