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Mark Rylance plays Vincentio in Shakespeare’s “Measure for Measure,” performed

On its Web site, UCLA Live originally advertised the Globe Theatre’s performance of Shakespeare’s “Measure for Measure” as a “lighthearted comedy.” When UCLA Live Artistic Director David Sefton became aware of this posting, he immediately requested that it be removed, stating that “Measure for Measure’s” controversial material and loose ends make it far more problematic than lighthearted.

But it stands as a true testament to the Globe’s skill that performers were able to transform Shakespeare’s contradictory and often puzzling manuscript into exactly that – a lighthearted and thoroughly engaging comedic production.

Returning after its extraordinarily successful, sold-out stint at UCLA Live two years ago performing Shakespeare’s “Twelfth Night,” the Globe is back with a darker, yet similarly entertaining play, which will be performed at the Freud Playhouse through Nov. 26.

“Measure for Measure” chronicles the story of the Duke of Vienna and his desire to leave his office and its responsibilities. He abruptly hands over his rule to the young, stern clerk Angelo, who proceeds to abuse his power by casting mostly innocent men into prison and allowing other, far more nefarious schemers to roam the streets. The duke comes back to Vienna in disguise, recognizes his mistake in choosing Angelo to rule, and subsequently attempts to right the wrongs that Angelo has performed, doling out justice “measure for measure.”

Each actor shines in his individual role, but Globe artistic director Mark Rylance’s portrayal of the duke is brilliant. He glosses over the contradictions of the role and the abrupt shifts in the duke’s character, creating a duke who is indecisive and unsure of his actions. Rylance makes particularly skillful use of the pregnant pause, oftentimes in the middle of a line, causing the inconsistencies in his following statements to become even more amusing.

But the experience of watching the Globe perform extends far beyond the acting itself.

The Globe prides itself on its “original practice” philosophy, meaning it keeps performances as close as possible to their original production formats. In the case of Shakespeare’s “Measure for Measure,” that means featuring an all-male cast portraying both male and female roles, wearing traditional renaissance clothing.

The actors even put on their costumes and make-up onstage in front of early arrivals before the show starts, creating an intimate and collaborative atmosphere with the audience right from the beginning.

Yet the level of intimacy does not quite measure up to the Globe’s performance of “Twelfth Night,” mainly due to the difference between the two plays’ staging arrangements.

For “Twelfth Night,” the Globe constructed a thrust stage (a setup in which the actors are surrounded by audience members on three sides) at the Freud that was very similar to the Globe Theatre itself. As a result, no audience member had a bad seat. With “Measure for Measure,” however, the Globe instead utilized the venue’s existing proscenium stage (think Royce Hall), adding only a few rows of seats on both sides of the stage.

Despite this disappointment, the Globe reaches out to the audience in other ways, most notably through music and dance. Not only were actors dressed in traditional garb, the production also featured musicians playing traditional renaissance instruments at the beginning and end of each half, as well as at strategic moments throughout the play. The Globe actors themselves even opened and closed the play with a traditional Elizabethan dance.

The Globe’s attention to musical detail in addition to the showcasing of its superior craft enhanced the entire production, essentially transporting the audience back in time and creating an experience that few viewers will soon forget.

For additional coverage of arts and entertainment, check out the dB Magazine on Thursdays.