THE MERCHANT OF VENICE. To 6 October.
London
THE MERCHANT OF VENICE
by William Shakespeare
Shakespeare’s Globe In rep to 6 October 2007
Mon-Sun various dates 2pm 7.30pm except Sun 1pm or 6.30pm
Audio-described 15 Sept 2pm
Runs 3hr One interval
TICKETS: 0207 401 9919
www.shakespeares-globe.org
Review: Harriet Davis 4 July
Laughs at the expense of complexity.
Shakespeare's problematic play is given a lively and vigorous shake-up, in a
production which relies almost solely on humour. While the crude comedy goes
down well, there is a price to be paid for such flippancy. The racist
undertones are at times too much to bear, and the cast seem all too happy to
fall back on stereotypes.
Particularly repellent is Shylock (John McEnery), whose presence dominates.
No more does he grieve for his daughter than he would for a dog; he is a
twisted unrepentant miser - the very embodiment of the Jewish stereotype.
Bassanio (Philip Cumbus) is a much more forgiving creature, blessed with
good looks and genuine charm, which only emphasizes the one-dimensionality
of Shylock. To watch the interaction between Bassanio - or indeed Antonio -
and Shylock is like watching a pantomime unfold; there is never any question
as to where our allegiance ought to lie. In addition, the Prince of Morocco
is shockingly oversexed and oversimplified, and there are some dubious
foreign accents floating about.
Director Rebecca Gatward tackles the homoerotic elements head-on, leaving
little room for debate. Bassanio has groped Antonio within the first scene,
and by the second the two have shared a casual kiss. As for the women,
Portia is played straightforwardly by Kirsty Besterman, while Pippa Nixon is
far more intriguing as Shylock's daughter, Jessica. Nixon conveys a certain
complexity - a palpable longing for escape - which draws us to her.
Designer Liz Cooke provides an eye-catching backdrop for the Venice scenes,
and a bustling marketplace for the show's prolonged opening. The space is
used well, and every opportunity is taken to harass audience members, who
respond with glee. There is also a notable lack of stillness; characters
tend to whisk and spin about the stage as if locked in motion - this lends
to a sense of endless momentum; both compelling and frustrating. If only
they would stand still for a moment.
In essence, there is much to be said for the pacing and energy of Gatward's
production which, if nothing else, is thoroughly entertaining. More
attention to subtext and, crucially, some attempt to address the overriding
moral issues could redeem this otherwise rather uncomfortable production.
Duke Of Venice / Prince of Aragon: Philip Bird
Antonio: Dale Rapley
Bassanio: Philip Cumbus
Leonardo / Stephano: Leander Deeny
Lorenzo: Nicholas Shaw
Gratiano: Mark Rice-Oxley
Salerio: Adam Kay
Solanio: Cornelius Booth
Shylock: John McEnery
Jessica: Pippa Nixon
Tubal / Gobbo: Jim Bywater
Launcelot: Craig Gazey
Portia: Kirsty Besterman
Nerissa: Jennifer Kidd
Prince of Morocco: Christopher Obi
Musicians: William Lyons, Adrian Woodward, George Hadjineophytou, Fariborz Kiani, Vivien Ellis
Director: Rebecca Gatward
Designer: Liz Cooke
Composer: Adrian Lee
2007-07-08 01:22:09