The Merchant of Venice

This is clear and agile storytelling from director Anne-Louise Sarks and Bell Shakespeare, even if this Merchant of Venice is oddly branded as a comedy. 

It’s hard of course to know what it is, with the Jewish caricature and cruel fate of Shylock mixed up with a romantic romp, fairy tale games and courtroom drama.

Post-Holocaust, it’s near impossible to make Shylock the comic villain that Shakespeare probably intended. Mitchell Butel, with his usual kinetic signature, comes close in his sleek black garbed Shylock, but by end he also moves us greatly; this production powerfully communicates just how vilely anti-Semitic these Venetian Christians can be.

Leading the pack is the merchant Antonio.  Jo Turner well captures Antonio’s hate but also his depression and unrequited love for Bassanio (an egocentric puppy from Damien Strouthos), to whom he lends money so the little gold-digger can go woo Portia. This is the fateful bond Antonio has to make, in turn, to Shylock, which “the Jew” tries to extract in flesh.

Designer Michael Hankin dresses all in smart modern clothes and sets the play in an empty semicircle, the actors in repose sitting aside on benches amongst the costume racks.  A gold backdrop and sad autumnal tree complete the picture.  

Sarks keeps the space dancing through quick changes and very physical theatre making with vivid characterisations.

The constant reach for gags however is sometimes overly hammered by a few characters, and some wit and action now seems fossilised; the production has been long touring.   And inevitably Shylock’s shadow darkens the comedy of these Christians. Max Lyandvert’s musical interludes helps bring us back to emotional truths.

In a generally beguiling cast bursting with energy, Jessica Tovey is an intelligent Portia and Eugene Gilfedder brings gravitas to small roles.  

Martin Portus 

Photographer: Prudence Upton