In THE MERCHANT OF VENICE Antonio, a Venetian merchant, has a friend Bassanio, who is desperately in need of money to court Portia, a wealthy heiress who lives in the city of Belmont. Bassanio asks Antonio for a loan in order to travel in style to Portia’s estate. Antonio agrees, but is unable to make the loan himself because his own money is all invested in a number of trade ships that are still at sea. Antonio suggests that Bassanio secure the loan from one of the city’s moneylenders and name Antonio as the loan’s guarantor.
So, in Venice, Antonio and Bassanio approach Shylock, a Jewish moneylender, for a loan. Shylock nurses a long-standing grudge against Antonio, who has made a habit of berating him and other Jews for their usury, which is the practice of loaning money at exorbitant rates of interest, and who undermines their business by offering interest-free loans. Although Antonio refuses to apologize for his behaviour, Shylock acts agreeably and offers to lend Bassanio three thousand ducats with no interest. Shylock adds, however, that should the loan go unpaid, he will be entitled to a pound of Antonio’s own flesh. Despite Bassanio’s warnings, Antonio agrees.
When Antonio defaults on the loan, due to his failed ventures at sea, Shylock ignores the many pleas to spare Antonio’s life, and a trial is called to decide the matter. The Duke of Venice, who presides over the trial, announces that he has sent for a legal expert, who turns out to be Portia, disguised as a young man of law. Portia asks Shylock to show mercy, but he remains inflexible and insists the pound of flesh is rightfully his. Bassanio offers Shylock twice the money due him, but Shylock insists on collecting the bond as it is written. Portia examines the contract and, finding it legally binding, declares that Shylock is entitled to the merchant’s flesh.
Shylock ecstatically praises her wisdom, but as he is on the verge of collecting his due, Portia reminds him that he must do so without causing Antonio to bleed, as the contract does not entitle him to any blood, and to take no more or less than an exact pound. Trapped by this logic, Shylock hastily agrees to take Bassanio’s money instead, but Portia insists that Shylock take his bond as written, or nothing at all. Portia then informs Shylock that he is guilty of conspiring against the life of a Venetian citizen, which means he must turn over one half of his property to the state and the other half to Antonio.
The Duke shows mercy and takes a fine instead of Shylock’s property. Antonio also forgoes his half of Shylock’s wealth on two conditions: first, Shylock must convert to Christianity, and second, he must will the entirety of his estate to his daughter, Jessica and her lover Lorenzo, upon his death. Shylock agrees and takes his leave.
Patricia Rowling’s ingenious and practical set design was ideal for this play, with its raised rostrum in the middle of the room, curtained arches at the back of the stage, and ramps on each side of the rostrum. Clever lighting effects enabled seamless scene changes from indoors to outdoors in seconds, keeping the action of the play moving along without too long an interruption.
The entire cast played their parts with great enthusiasm and an obvious love of the script, with excellent diction and understanding of their respective parts. Highlights of the play were, as expected, Portia’s “Quality of Mercy” speech, and Shylock’s emotionally charged “Hath not a Jew eyes?”
Though every member of this exceptional cast performed with equal conviction, Blake Wells deserves a special mention for his stand-out performance as the hapless Shylock. With faultless accent throughout, and characterisation to match, his performance was an absolute tour-de-force.
To quickly summarise, the play ended happily for everyone except poor old Shylock. Portia gets Bassanio, Nerissa gets Gratiano, Jessica gets Lorenzo, Antonio gets richer, Shylock gets poorer, and the quality of mercy is not strained. On such a night as this, who could ask for more?
THE CREW
DIRECTOR AND SET DESIGNER – Patricia Rowling; PRODUCERS/COSTUMES – Patricia Rowling and Kyle Rowling; STAGE MANAGER – Dan Collins; ASSISTANT STAGE MANAGER – Emma Bradbury
THE CAST
SHYLOCK -Blake wells; ANTONIO – Theo Kokkinidis; PORTIA – Laura May; BASSANIO – Josh Wiseman; NERISSA – Annabel Pokorny; GRATIANO/BALTHASAR – Tim van Zuylen; SALANIO/PRINCE OF MOROCCO – Martin Estridge; JESSICA/SERVING GIRL – Alison Benstead – LORENZO/OLD GOBBO – Mark Zihrul; PRINCE OF ARRAGON/TUBAL/STEPHANO/GAOLER – Adam Garden; LAUNCELOT/SALERINO/DUKE – Chenier Moore
The Bard On The Beach production of THE MERCHANT OF VENICE played the Greek theatre, Building 36, Community Centre, 142 Addison Road, Marrickville between the 17th and the 25th June.
http://www.bardonthe beach.net