Mercy, cruelty strained to limit
The Theatricum Botanicum fearlessly tackles anti-Semitism raised in ‘Venice.’
The quality of mercy can in fact be strained, especially when it comes to the fate of a central character in one of Shakespeare’s greatest plays. Notwithstanding its oft-quoted proverbs and ingenious plot, “The Merchant of Venice” continues to spark controversy over its depiction of the Jewish money-lender Shylock and his humiliation at the hands of Judeo-phobic society.
Ellen Geer’s staging at the outdoor Will Geer’s Theatricum Botanicum fearlessly tackles head-on the theme of anti-Semitism raised by the play, with the benefit of a commanding performance from Alan Blumenfeld as Shylock.
He doesn’t soft-peddle Shylock’s monstrous demand for a pound of flesh from the defaulting merchant (Franc Ross) of the play’s title, sharpening his long dagger in gleeful anticipation of a court verdict in his favor. At the same time, the actor masterfully grounds the character’s animosity in vengeance for the revulsion and abuse he receives from Christians, evoking the full measure of aggrieved dignity in the eloquent “Hath not a Jew eyes?” speech. To further humanize Shylock, Geer adds a touching scene in which he softens at the lullaby sung to him by his daughter Jessica (Maia Luer).
Overlaying the world of 1500s Venice with distinctly modern urgency amid antiSemitic incidents worldwide, Geer proves an equal opportunity social critic. A new opening shows Shylock being taunted and spat upon, events only referenced after the fact in the text.
The play’s comic touches also receive their due — most notably Melora Marshall’s antics as the clown Launcelot.
Nevertheless, not all the mirth that glitters signifies a heart of gold. Despite its classification as a comedy (it ends in marriage rather than dead bodies), bad behavior abounds. The production’s sharpened focus on moral ambiguity extends even to Willow Geer’s steely, unsentimental Portia, the quickwitted ostensible heroine who disguises herself as a lawyer to turn the tables on Shylock. Not content with getting the merchant off the hook through legal sophistry, she further twists the knife to strip Shylock of his property, citizenship and even his religious identity.
In putting anti-Semitism so prominently on display, was Shakespeare denouncing it, or did he share the sentiment? That the question remains debated after 400 years attests to the play’s complexity. In this accomplished staging, the qualities of mercy and cruelty are both strained to their limits.