The latest production of Royal Shakespeare on Screen is THE MERCHANT OF VENICE in a gripping version of the narrative that is a little abridged and has been made contemporary.
Magnificently directed by Polly Findlay it is very powerful, in certain sections joyous and funny, at other times extremely moving and somber.
The play moves at a cracking pace , but still has room to ‘breathe’ and the famous set speeches are given time and space to make their impact. Even though the speech patterns are of today, the poetry still shines through. The play’s depiction of racism and intolerance comes across as clearly as ever.
Johannes Schütz‘s designs deserve special mention. There is a giant looming proscenium arch above the thrust stage and a huge silver swinging pendulum. The dominant feel is for the clear, sparse, reflective golden panels– very appropriate in the context of the splendour of Portia’s Belmont palace.
With multiple long mirrors, the design has the audience reflected on itself- asking us to ponder our own cultural and social values.
A few simple, clean lined props at times (for example, chairs and tables for the courtroom scene in Act 2) are included.
Depending on the action the cast sit on the side of the stage when not required on stage .
For Shylock’s house the set also functions well, Jessica appearing bleakly at the top. (I liked the use of the fancy rhinestone glittering balaclavas for the elopement scene).
The Cloudgate Dance like lyrical use of a mass of candles in the final scene came across as symbols of hope. The caskets of gold silver and lead on stage are each of a different shape and descend on rope pulleys .
The music, including a small child choir, is integrated superbly.
Our Portia, Patsy Ferran, is elfin, dark and at times strong In a tremendous performance. Already at least sort of half in love with Bassanio when the play starts she is all giggly, blushing and nervous in their first scene together but grows and develops into a strong, passionate woman who would do anything for the man she loves.
In the courtroom scene ,severe in black, she turns her anger about discovering Antonio’ s until then generally discreet relationship with Bassanio onto Shylock.
Antonio, the Merchant of the title, is given a very sympathetic, melancholic, finely detailed, lyrically passionate performance by Jamie Ballard. He opens the play in tears ( ‘In sooth I know not why I am so sad’). In this frank and revealing production it is obvious that he is gay and that he and Bassanio are lovers. Bassanio, however, is breaking off their relationship and going off to marry Portia who knows but unhappily accepts the situation.
Reality hits badly- Antonio is shattered not so much by debts and storms as by his love for Bassanio, whom he risks all to help . The play ends sadly for Antonio, sinking alone upon a bench.
Shylock is shown as charming, at least at first when we meet him, but underneath is a cold, implacable hidden interior determined on revenge. He ignores all please for mercy, determined to act enforce the bond.
Makram J Khoury gives a tremendous, multi layered bravura performance. The antagonism between Antonio and Shylock is intense and of long standing. Khoury begins patient and stoic, describing the racist ill-treatment he has received, and ends shattered but calm having his life turned upside down .
The very handsome Jacob Fortune-Lloyd is wonderful as the lovestruck Bassanio, upset at how he has let Antonio down.
Jessica and Lorenzo, the other pair of young lovers, become almost sidelined as minor characters in this production, but nevertheless are given strong performances by Scarlett Brookes and James Corrigan.
Nerissa, Portia’s confidante, is given a sprightly performance by Nadia Albina and Gratiano, is as a witty, charming gangster rapper by Ken Nwosu.
The clown role, Launcelot Gobbo, is played, wearing clown face makeup, with great relish by Tim Samuels, who performs his first monologue to the man he sits down next in the front row of the audience.
This production ends on a happy note and we are left to ponder the uncertainties of love, honour, friendship and morals.
Running time- two and a half hours without interval.
The film features a brief introductory segment beforehand and a brief ‘’interval’’ look at backstage behind the scenes – costumes, technical stage production etc
The Royal Shakespeare Company’s production of THE MERCHANT OF VENICE screens at cinemas on the weekend of the 22nd and the 23rd August.
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