THE MERCHANT OF VENICE. To 25 September.
London
The Merchant of Venice
by William Shakespeare
Thirsty Dog Productions at the Union Theatre, 204 Union Street, Southwark, London, SE1 0LX To 25 September 04
TueSat 7.30pm Mat 25 September 3pm
Runs 2hr 30min One interval
TICKETS: 020 7261 9876
Review: Peter Kinsey 9 September
A contemporary version delivers some new surprises .The Merchant of Venice has become a rich vehicle for examining racism and sexual politics.
To underline the play's modern ambiguities, Danny Ghossain directs it in contemporary dress in an empty space, virtually unadorned by set, props or lighting. Music is used sparingly (like the cool a cappella rendering of Tell me where is fancy bred? by Emily Hanrahan, as Nerissa). He places his emphasis firmly on an intelligent, exact and sensitive playing of the text.
Mairead Conneely gives the subtleties of Portia's character (from gentle passion to spoilt, cruel humour) easy, mercurial expression. No more so than in the negotiations of her relationship with Bassanio. On the other hand, Philip Cale plays him without the ambivalence we have come to see in most modern productions: he is a man of honour, straight, in all senses of the word. Inevitably, this does not allow Sean O'Tarpaigh's Antonio much progression from the first sad sentiments with which he opens the play.
Ghossain's decision to direct the relationship like this, seems to run counter to his overall approach, unless he feels that this is one modern insight we need a rest from. However, he does expose a new vein in the relationship between Jessica and Lorenzo (Jessica Knight and Paul Revill). The partnership is very volatile and frequently fraught with tensions, demonstrating both the joys and difficulties of cross-cultural love.
Contrary to the general style, Seamus Newham (as Shylock) does not always point the text finely enough. His thoughts seem to be running faster than his speech. I'm not sure if this is intentional or not, for he presents his character strongly throughout as a restless spirit, prowling up and down like a caged animal (the wolf Gratiano refers too?), totally obsessed with his revenge.
In another modern touch this obsession is shown to be the unbalanced action of a man out of his time when he meets Tubal. Normally played as a co-conspirator, instead Jack Lewis makes him a younger generation city lad, uncomfortable with the older man's cultural baggage.
The great set piece, the court scene, still packs a punch in this production. Not only for its blatant racist corruption and vengeful sadism, but also the outcome, here played in gripping cliff-hanging fashion. Overall, Ghosslain's production leaves us, as in the twists of its last scene, with the bitter sweet contradictions of the human heart.
Bassanio: Philip Cale
Portia: Mairead Conneely
Nerissa: Emily Hanrahan
Launcelot Gobbo/Prince of Arragon: John Kirkham
Jessica: Jessica Knight
Solanio: Noel Le Bon
Prince of Morocco/Tubal: Jack Lewis
Shylock: Seamus Newham
Antonio/Old Gobbo: Sean O'Tarpaigh
Stephano/Gaoler/Ensemble: Robert Pollington
Lorenzo: Paul Revill
Duke of Venice/Ensemble: Susan Travers
Gratiano: Aonghus Weber
Salerio: Connor Williams
Director: Danny Ghossain
Lighting: Steve Miller
2004-09-12 12:16:42