Shakespeare Plays Available in Video Format
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All’s Well That Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Coriolanus
Cymbeline
Hamlet
Henry IV, part 1
Henry IV, part 2
Henry V
Henry VI, part 1
Henry VI, part 2
Henry VI, part 3
Henry VIII
Julius Caesar
King John
King Lear
Love’s Labour’s Lost
Macbeth
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
A Midsummer Night’s Dream
Much Ado About Nothing
Othello
Pericles
Richard II
Richard III
Romeo and Juliet
The Taming of the Shrew
The Tempest
Timon of Athens
Titus Andronicus
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
The Winter’s Tale
Shakespeareana

Available versions

1979: Desmond Davis

2006: Bob Komar

2015: Dominic Dromgoole


Educational

2018: Shakespeare Uncovered (Season 3, Ep. 3)


Measure for Measure
1979: Desmond Davis

This production is one of the earliest and one of the best of the BBC Shakespeare series, and it deals with what that series delivered best: top-notch acting presented with a minimum of frills. Despite the modest budget for the production, it manages to pack a serious punch.

The keynote of the production (perhaps unsurprisingly) is balance. The plot and the characters both require it. Kate Nelligan plays Isabella with a fine balance of power and restraint, supported by a sense of intelligence and spiritual depth, emotion and reason. Kenneth Colley (whose most famous role was undoubtedly his turn as the slightly intimidated Captain/Admiral Piett in The Empire Strikes Back) here juggles both the ambiguous diction and the nuances of the dual role of the Duke/Friar without straying too far in either direction. He is admirable and suspicious, godlike and demonic, appealing and repellent, and apparently always in charge. It is said that several dozen other actors turned the role down before he accepted it, but it would be hard to imagine the role being done better. Tim Pigott-Smith shows us Angelo’s dark hypocrisy, but it is all the more pungent because he clearly is yet moved by purity and honor, even as he is trying to destroy them. It is not impossible to believe at the last that even he may be redeemable.

The minor parts are no less polished: Lucio is played by John McEnery, who cut a more conspicuous figure as Mercutio in the Zeffirelli Romeo and Juliet (1968). He is brilliantly annoying, but also convivial and appealing. The low clownish characters Pompey, Elbow, and Mistress Overdone deliver their ludicrous lines with relish and conviction; Claudio and Juliet are endearingly sincere, with just the barest whisper of intellect between them.

There is nothing explicit in the production that should offend anyone willing to read the play in the first place. The text certainly contains themes that could raise eyebrows, because that’s what the play is about. But in realizing that content, it imposes nothing else that should be objectionable; it delivers the story solidly and with finesse.


Abhorson: Neil McCarthy

Angelo: Tim Pigott-Smith

Barnardine: William Sleigh

Claudio: Christopher Strauli

Duke Vincentio: Kenneth Colley

Elbow: Ellis Jones

Escalus: Kevin Stoney

First Gentleman: Alan Tucker

Francisca: Eileen Page

Friar Thomas: Godfrey Jackman

Froth: John Clegg

Isabella: Kate Nelligan

Juliet: Yolanda Vazquez

Justice: David Browning

Lucio: John McEnery

Mariana: Jacqueline Pearce

Mistress Overdone: Adrienne Corri

Pageboy: David King Lassman

Pompey: Frank Middlemass

Provost: Alun Armstrong

Second Gentleman: John Abbott

Servant: Geoffrey Cousins