MERCHANT OF VENICE till 31 March
THE MERCHANT OF VENICE: William Shakespeare
Part of the Complete Works Festival
Swan Theatre: Stratford Upon Avon
Runs: 2h 50m, one interval, till Sat 31 March
Review: Rod Dungate, 27 March 2007
Remarkably different, refreshingly up-to-date
How long does it take to realise you are witnessing a very special performance? – Five minutes? Ten? By my reckoning it takes only four lines; by the time F Murray Abraham reaches: ‘Three thousand ducats for three months, and Antonio bound’ you suspect you are watching something extraordinary; suspicions are confirmed as Abraham unfolds this complex, racially abused character.
I love watching American actors perform Shakespeare plays; their ability to inhabit roles physically brings a freshness and solidity to the plays that make them different from British actors’ performances. Nowhere could this be clearer than in this Shylock; famously he says; ‘If you prick us, do we not bleed?’ We need no answer, for we see this Shylock bleed at every moment. Abraham is understated, dignified under attack. Even in the court scene he is not cruel, but detached – cut adrift by our hatred and abuse. Abraham commands the Swan acting space without so much as raising his voice.
Darko Tresnjak directs this ultra modern production – one scene clearly set in the NY Stock Exchange. And in John Lee Beatty’s economical and stylish settings the production rings true for the 21st Century. (I note the programme states ‘Time: The near future.’) Today, we find the anti-Semitism of the play confusing, we don’t want the characters we like (Portia, Bassanio et al) to be part of it; we find no easy answers. Tresnjak faces these complexities head on in his bold, detailed and beautifully orchestrated production.
Tresnjak goes for in-built contrasts. Antonio is clearly in love with Bassanio, he draws our sympathy – but he’s also an arrogant prig, so he pushes us away. Gratiano may be the life and soul but he’s also loud-mouthed and vulgar. Tom Nelis and John Lavelle, respectively, mould their contractions into satisfying wholes. At the climax of the court scene, after the merciless baiting of Shylock, Antonio whips off Shylock’s skull cap; Shylock is left to run from the court covering his head with a pocket handkerchief. But even Antonio thinks he, himself, has gone too far. Tresnjak then plays his tour de force.
A sickness enters the play. A virus enters and affects Belmont; bitter strife impinges on the beauty and love. The resolution to the play is exquisitely unstable. A perfect metaphor for our times.
This is a strong company. Saxon Palmer’s Bassanio is warmly human and Kate Forbes’s Portia is elegant, sophisticated and totally likeable. Christen Simon is a sparky Nerissa and Arnie Burton shines forth as a comedic beacon in the unlikely role of Balthazar.
Shylock: F Murray Abraham
Launcelot Gobbo: Kenajuan Bentley
Balthazar: Arnie Burton
Solanio: Cameron Folmar
Portia: Kate Forbes
Prince of Morocco: Ezra Knight
Gratiano: John Lavelle
Jessica: Nicole Lowrance
Lorenzo: Vince Nappo
Antonio: Tom Nelis
Bassanio: Saxon Palmer
Salerio: Matthew Schneck
Nerissa: Christen Simon
Prince of Arragon / Tubal / Duke of Venice: Marc Vietor
Director: Darko Tresnjak
Set Designer: John Lee Beatty
Costume Designer: Linda Cho
Lighting Designer: David Weiner
Sound Designer: Jane Shaw
Voice and Text Consultants: Cicely Berry, J M Feindel
Dramaturg: Michael Feingold
Fight Director: J Steven White
Video Artist: Matthew Myhrum
Wig Designer: Charles Lapointe
2007-03-28 15:59:51