|
||||
|
|
Peer Reviews The
Merchant of Venice
The Merchant of Venice is described as one of Shakespeare's "comedies," yet it is typically remembered for its dramatic scenes and controversial depiction of anti-Semitic attitudes among its Christian characters. Most productions focus on these aspects of the text and downplay the humor. In truth, many of the immortal bard's plays deliver a challenging balance of comedy and pathos that can make it difficult to establish a consistent tone on stage. Hence the history of "Merchant" is filled with productions that emphasize the drama. Walden Theatre opened the second production of its 10th Annual Young American Shakespeare Festival with a version of this play that goes against this tradition. The comedy was not ignored, and the broader portions, involving the clown, Lancelot Gobbo, were pitched high and wide in an unflinching, go-for-broke performance by Alex Masterson. It is a bold choice that might not please everyone, but I thought it worked.
The more serious scenes might seem overshadowed somewhat in this approach, but the central conflict of the play is eventually given its full measure in the famous climactic "courtroom" scene. The merchant of the title, Antonio, has borrowed money on behalf of his friend, Bassanio, from the Jewish moneylender, Shylock. Because of the cruel indignities he has suffered at the hands of the Christians, including being spat upon in public by Antonio himself, Shylock demands that the penalty for defaulting on the loan is for Antonio to give up a pound of flesh. Antonio's fortunes suffer and he is brought before the Duke of Venice to pay his penalty to Shylock. Despite Bassanio's offer to repay the debt twofold, Shylock insists on the penalty. The scene is justly famous, and is given a more than satisfactory rendering here. The pretty language and romantic interactions make the play seem charming when in reality these characters are, almost without exception, vain, self-serving, hypocritical and cruel. Shylock's demand for such a brutal penalty is voided through subterfuge and manipulation of the law that makes a mockery of justice, and in the end the characters smugly congratulate themselves on their victory and revel in their good fortunes. The young, all-female cast perform admirably. Besides the aforementioned Ms. Masterson, Sally Eichenberger as Bassanio is a standout. But the two roles that make or break any production of this play are Bassanio's beloved Portia, and Shylock. As Portia, Olivia Douglas commands the stage with charm and authority, while Anna Fearheiley, despite an inconsistent accent, manages to effectively illuminate the conflicted heart of the wounded Shylock. Shana Lincoln's rococo costumes are rich and beautiful, successfully helping to define the gender distinctions. The young girls playing the male characters, with long flowing hair falling from beneath their tri-cornered hats were consistent with the period, beautifully feminine yet masculine enough within the context of the production.
Walden Theatre
Young American Shakespeare Festival Posted May 11, 2008
|
|||
