The Merchant of Venice

Subtle and nuanced, with superb characterisation, Bell Shakespeare’s latest Merchant of Venice is a beautiful interpretation, much of which hinges on a densely-layered and very human characterisation of Shylock. Mitchell Butel imbues Shylock with dignity and grace, making an absolutely recognisable orthodox Jew right down to what sounded like authentic Hebrew prayer. When Shylock is spat on, he quietly wipes moisture from his face with a sigh of resignation, visibly swallowing his pride, and so when he does finally see a chance for revenge, he takes it with the same quiet efficiency and his intent although horrific is entirely understandable. The audience feels his pain acutely; Butel’s delivery of the famous speech is heartwrenching.

Director Anne-Louise Sarks has demarcated the scenes with Shylock and Antonio by making them realistic and sober; scenes involving the other characters she allows to be more light and humorous. That contrast comes together in the court and later scenes and exactly the tone which is mirth earlier is shown to be mocking and cruel in the new context, a device which gives the latter half of the play a deep poignancy. Humour and racism are shown as opposite sides of the same coin, both with Shylock and with Portia’s suitors. The script has been edited to emphasise Shylock’s humanity, as well as to generally tighten the flow.

Other characters are shaded to give depth and highlight contradiction. Jessica Tovey’s Portia has her trademark wit, strength and intelligence, but also presents with racism that is so unconscious it’s become instinctive to her. Jo Turner’s Antonio is clearly aching with suppressed love for Bassiano, and although his arrogance and xenophobia towards Shylock is breathtaking, we don’t want his heart cut out in punishment. Jacob Warner provides ample comic relief in the form of Launcelot Gobo, and Felicity McKay makes a brilliantly brash and funny Jessica (with one particular interjection that still has me giggling).

It’s forever a marvel that although the play Shakespeare intended was spectacularly cruel, he was a close enough observer to allow for Shylock’s revoicing as victim. Anne-Louise Sarks’ sensitive handling has made this a wonderful, mature interpretation not to be missed.

Cathy Bannister

Images: Fayssal Bazzi, Mitchell Butel and Damien Strouthos, & Fayssal Bazzi and Catherine Davies. Photographer: Prudence Upton.