Merchant Of Venice, October 29, on Broadway

26

 

                                            Shylock and Antonio



Starring Al Pacino, the play was hyped up a lot. There are commercials and posters all over Broadway, after a successful run in Shakespeare in the Park.

The set was like prison. Metal bars were everywhere. They rotated on grates, swirling around each other to either close someone in, or block someone out. There was a tower as well. An abacus in the back was a clever idea. The abacus rotated and could have been an accountant’s office. The entire place was dark.

                                  Portia and Shylock

This production’s theme was unclear. I couldn’t tell what the play’s meaning was aiming at. The direction also didn’t have a clear idea: The cast seemed to have certain directions and have lines instead of being living them.  They seemed programmed to say certain things at certain times.

                              Portia, Antonio and Shylock

Antonio (Byron Jennings) made the most use out of the space. He sometimes stumbled around, leaning up against the bars, to show that he was trapped.  In the trial scene he was slow moving but steady, and quick with his features. This made his flickering eyes exaggerated when he feared his life. But elsewhere he seemed too old and without a sense of purpose.

                              Jessica and Shylock

 Al, on the other hand, always kept focused on his surroundings. He was always very aware one where he was. And he was hilarious when he was acting friendly. But he didn’t play Shylock in any particular way. A good production depends on the way Shylock is portrayed. There is no right way, but there are many wrong ways. And doing no particular way is worse than that: He wasn’t a joke of a man, but he wasn’t totally a jerk. But he also wasn’t a wronged, deserted man. He cut off a few lines, too.

                

                                                Shylock and Bassanio

            Bassanio (David Harbour) was a quick and impulsive man. You could see in his face that he barely pondered his decisions. This could’ve been an impressive way to communicate his thoughts, but he was too rude, not charming, making his thoughts clear. His man, Gratanio (Jesse L. Martin) was also rude, but it worked for him. He seemed less interested in Nerissa (Marsha Stephanie Blake), and flashed true colors, showing that Nerissa wasn’t his only goal. The third lover, Lorenzo (Seth Numrich), seemed awkward towards Jessica (Heather Lind). Lancelot (Christopher Fitzgerald) was probably the most striking; he was kind but ambitious at the same time. He was very calm, although when confronting people he became stout, frank and to the point.

                                              Pacino

Portia (Lily Rabe) was raspy, not confident and altogether too mobile and monotonic. Flouncing around the stage in mock anguish or bliss doesn’t fit the role. Nerissa was quiet. Shecaptured the maid part of the character, but not the nanny.

                                                   Lily Rabe

The moral of the production was perhaps the most intriguing. At the end, all the characters separated one by one; angry or hurt. Nerissa left Gratanio. He slunk away. The same for Portia, stalking off. Antonio then tried to comfort Bassanio, but was rebuked. Antonio stood in disbelief, and then stumbled off across the stage. Lorenzo left his coat on Jessica’s shoulders, after pausing, as if trying to form sentences before giving up. Finally Jessica threw the deed of her father’s into a shallow pool of water, and looked up at a balcony, where Portia had appeared. They shared a gaze. Then the lights went out. All Shylock wanted was his bond, and in losing it, broke all others.

                

                                                            Byron

              Outside the theater there was a huge crowd waiting for Al. The police had to cordon off the street. The play was clearly built around him. There was a huge cheer as he got into his black SUV and drove away.