"Measure For Measure" by William Shakespeare.

Nottingham Lace Market Theatre .

It doesn't make any difference how old a script or piece of theatre is, if it still resonates, then it's still relevant. Shakespeare's words have transcended the centuries showing that maybe we haven't moved on that far in four hundred years. That relevance is shown here with this production of the problem play that is packed with morality and virtue.

Set in Vienna, which at the time is teeming with brothels and loose morality, Duke Vincentia doesn't want to use her authority to clean up the city. She departs, in disguise, leaving her deputy, Angelo, in charge. Angelo is at first reluctant, but he soon starts to make changes. One particular law that Angelo re-instates results in bad news for Claudio. Only Claudio's sister, Isabella, a nun, has the chance to save her brother from death, but is she willing to do what Claudio asks of her?

Anyone who knows this story will know the answer, of course, but for those who don't, I don't want to give away too much, or reveal any twist in the plot.

The cast were Alison Hope (Pompey), Ali Lit (Froth/Kate Keepdown), Anthony Burrows (Elbow), Aoife O'Neill (Juliet/Reverand Mother), Charles Moss (Escalus/Bernadine), Chris Sims (Angelo), Dolores Anass (get it?) (Mistress Overdone), David Dunford (Provost), Gavin Gordon (Claudio), Jake Turner (Lucio/Newscaster), Sarah Burgin (Duke Vincentia), Sarah Godwin (Mariana/Servant), Russell Lawrenson (Uncle Russell) and Summaya Mughal (Isabel).

There's just the right amount of comedy to lift the play which in itself served to highlight the brilliantly powerful, and very natural performances by Summaya and Gavin, although I did smile when Claudio was brought on swathed in a local football team's scarf.

It also showed me just what a slimeball Chris, as Angelo could be with his manipulation and bullying tactics with Isabel, and Alison's comic talents. There was also, for me anyway, an incite as to how Rik Mayall may have performed as Lucio with Jake Turner.

Sarah Burgin as The Duke, and a nice twist to make this character a woman, which also tied in nicely with her disguise, was excellent.

There was more than just a touch of localisation here with images of the Council House and some images of Nottingham streets, showing that what happens in the story can happen anywhere in the world, in any timeline.

Directed by Hazel Salisbury and Laurie Owen who have identified the connection to today's social issues within this script and have brought this four hundred year old story up to date, but without losing any of the magic of the Bard's original sparkle. I loved the use of social media to spread the word of what was happening throughout, with images of mobile phone tweets with headlines that could have been lifted from tabloids like The Sun, my favourite borrowing from an 80's film title starring Jim Carrey and Jeff Daniels.

The action was not confined just to the stage but used the whole auditorium for exits and entrances, all the while keeping you on your toes.

Lighting Design is by Allan Green and Sound Design by Matthew Allcock. Matthew also is responsible for all of the marvellous projection work that you can see throughout, changing the set and scenes with just a touch of a button, or fader, or however the magic works. The design for the projection was by Laurie Owen.

The Set designer is Steve Musson, and before the play started properly, I commented on what a good design it was. Add to the smart design the projections and teh stage came alive. The design also included the covert surveillance system used for spying on the characters.

From the off we were made aware of the modern feel of the play as smart modern suits were worn, showing authority. While everyone was filing in and taking their seats, the stage looked like a standard Saturday night in Nottingham City Centre complete with revellers, drunks and beggars.

Creating even more realism were the various props that were used, sourced by Lesley Brown and Russell Lawrenson, who as well as being on stage, was Assistant Stage Manager as well.

I'm currently three quarters through reading "Measure For Measure" for pleasure, but coincided well with this performance, and much as I love reading, this play created more enjoyment for me due to its' modern direction, and also the way it tied in with current political scandals and movements.

As the programme states, "He was not for an Age, but for All Time" and this production shows that Shakespeare's works have as much relevance today as it did when first written.

"Measure For Measure" is at the Nottingham Lace Market Theatre until Saturday 29 April.