The Merchant of Venice (review)

This modern dress production of The Merchant of Venice used the technology of cell phones and laptops to help make Belmont and Venice seem part of the same world. Several speeches were delivered into cell phones, and in Belmont the caskets were represented by three laptops and three computer screens that faced the audience. Here, the screens projected the inscriptions from the caskets, while in Venice, they showed the moving numbers of stock market quotes. As each of Portia's suitors made his choice, the image inside that casket appeared above him, and the recorded words of the scroll were heard.

In this production, Portia never seemed in control. The Princes of Morocco and Arragon were both young and wealthy and Portia seemed clearly to believe that she might be forced to marry one of them. When Portia arrived in Venice, disguised as Balthasar, she did not yet know how she would thwart the bond. During the trial she discovered the legal precedent on her laptop, but Shylock still seemed ready to take the pound of flesh anyway and suffer the consequences.

Portia's helplessness reinforced the somber effect of the production as a whole. Romance and comedy were overshadowed by revenge, mistrust, and desperation. The lovers never appeared lighthearted or able to forget the difficulties that stood in their way. In Belmont, Lorenzo and Jessica seemed especially woeful, like two teenagers who had run away to pursue an adventure, and were now forced to face reality. Gratiano's attempts at humor always failed, and he embarrassed himself and others. And Gobbo's early cheerfulness gave way to resentment when he had to take orders from Lorenzo and Jessica at Belmont.

Figure 1.

F. Murray Abraham (Shylock) in Theatre for a New Audience's production of The Merchant of Venice. Photographer Gerry Goodstein.

This production emphasized the obstacles faced by the lovers. After Antonio agreed to borrow money to send Bassanio to Belmont, Bassanio got down on his knees and kissed Antonio's hand to thank him. Then he had to keep Antonio from fighting with Shylock so that the deal could be completed. Later, after choosing the right casket, Bassanio, again on his knees, accepted Portia's ring. His success seemed to be the cause more of relief than joy.

Money played a vital role, sometimes as paper currency, but also as gold bars carried in metal cases. The actors made three thousand ducats sound like a real fortune. So when Portia replied—"What, no more?"—after Bassanio told her the sum of the bond, she amazed the others with her great wealth. In court, angry at the loss of his principal, Shylock almost pursued the forfeiture in spite of his peril. But at the last moment, he thrust the metal case filled with ducats into Antonio's lap and put away his knife.

Shylock seldom raised his voice or lost control. For example, after Jessica ran away, he appeared distracted by grief, but not hysterical. Taunted by Solanio and Salerio, Shylock regained his composure, calmly pulling himself together as he made the decision to enforce the bond. This composure made his hatred toward Antonio seem more ominous, and his revenge more inevitable, than if he had raged.

Figure 2.

F. Murray Abraham (Shylock), Saxon Palmer (Bassanio), and Tom Nelis (Antonio) in Theatre for a New Audience's production of The Merchant of Venice. Photographer Gerry Goodstein.

In spite of their composure, the visceral hatred between Antonio and Shylock did break...