Shakespeare & Co., Lenox, MA
through August 21, 2016
by Joan Mento
On a bare stage in the round, Shakespeare & Company’s
“The Merchant of Venice” starts with a bang not a whimper. Masked players enact
stylized movements that rapidly transform to gyrating hip-hop. The limited set
pieces are creatively unitized, and costumes as well as actors interacting with
the audience suggest Elizabethan stage practices.
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| Photo by John Dolan |
In past productions, Shakespeare & Co. played comic
episodes skillfully and hilariously funny. Yet, in this “Merchant” the clowning seems forced
and overextended. Few laughs accompany the Old Gobbo and son antics. Instead,
it is the women’s subtle comic expressions in the casket scenes that delight
and amuse the audience. A moment of sustained laughter erupts when the Prince
of Aragon chooses his casket to reveal the message of “blinking idiot” and,
instead of a mirror, holds up a picture of Donald Trump.
Venice, at Shakespeare’s time was a cultural and financial
capitol, populated by various ethnic and religious groups. Yet, prejudice of
the ruling class dominated. I believe that “Merchant’s” issues make it more of
a “problem play.” The poignancy of Shylock’s plight proves too powerful.
Sympathy lies with Jonathan Epstein’s lead character. The cruelty and violence toward him outweigh the
infrequent redeeming quality of laughter. Despite the romantic comedy of the
rings in the last scene, the audience is left with a stage image that
reinforces the tragic dimensions. Juxtaposed to the merrymaking couples (except
for Shylock’s daughter, now disillusioned in her mixed marriage) is the
isolated Shylock, bereft of his kin, his money, and his religion as he is
forced to endure a conversion to Christianity. In the end, he sings a mournful dirge
echoing his impending death, not only literally as is written in his will, but
also spiritually in his death as a Jew.
Congratulations to Tamara Hickey for her excellent portrayal
of Portia and to Epstein’s outstanding Shylock.
