{image1}Theres a lot to like about Milwaukee Shakespeares ambitious production of "The Merchant of Venice." Johnny Lee Davenports portrayal of Shylock is stunning, bringing energy and passion to a character who is often (erroneously) played as a shambling, embittered old man. Darcy Scanlins clever scenic design uses a single set and images projected on large screens to simplify a series of quick location changes. David Chambers edgy direction brings out the many ambiguities moral, cultural, sexual found in the text. In this production, no one is exactly what he or she appears to be.
One of Shakespeares most complicated and controversial works, "The Merchant of Venice" is difficult to produce for the modern theater. The text is so rife with apparent anti-Semitism that 21st century audiences cant help but squirm every time Christian tormenters refer to Shylock as a filthy Jew. Chambers, in one of this productions most successful innovations, begins the play with an MTV-style video montage that intercuts swastikas and crosses with concentration camps and racial violence. The audience is by turns shocked, numbed and finally relieved that the cultural baggage we all bring to the play is now on the table. Were able to acknowledge it, examine it and set it aside. The screens then become set pieces, barely noticeable and never again used to such effect.
The plays action juxtaposes the money-driven world of Venetian society with the fairy tale world of Belmont. Similarly, several different plots unfold simultaneously in these two venues. Bassanio (Grant Goodman), a young Venetian, borrows the sum of 3,000 ducats from Antonio (Mark Metcalf), the Merchant of the plays title, so that he can travel to Belmont and marry Portia (Molly Rhode), an heiress. Antonios money is tied up in a far-flung business venture and so he in turn borrows the money from Shylock. He gambles his own fate for the money, agreeing to Shylocks terms: a pound of flesh, should the principal not be returned within three months. Shylock has a young daughter, Jessica (Sarah Sokolovic), who wants to marry Lorenzo (Marcus Truschinski), a Christian suitor. She plans to take what she can from her father, leave with Lorenzo and Bassanio for Belmont, and convert to Christianity.
Meanwhile, Portia has her own problems. Before his death, her father had decreed that Portia could only marry the suitor who solved a riddle of sorts by choosing the correct of three different caskets (not coffins, in this case, but largish jewelry boxes) - one gold, one silver, one lead. The suitor who chooses wisely gets the girl. The suitors who choose unwisely must leave Belmont - and promise to never attempt to marry again.
As the leading romantic couple, Molly Rhode and Grant Goodman are well-cast. Goodman is conventionally handsome and heroic; Rhode the proper fairy tale heroine, complete with quivering chin. Ashley Rideaux serves well as Portias sidekick and confidante, Nerissa. Unfortunately, Bassanio is saddled with Gratiano as friend and servant, a lighthearted character played broadly by Matt Daniels, who upstages everyone else - even when he has few or no lines in the scene.
Irina Kruzhilinas colorful costumes are initially distracting, but soon fade into the background as the plays action unfolds. A modern reader of Shakespeares "The Merchant of Venice" might be put off by the apparent anti-Semitism of the Christian characters. But, as always, Shakespeare on the stage is much richer, benefiting from the directors interpretive choices. In this production, the Christians arent completely merciful, and Shylock is not completely cruel. No single character is totally sympathetic, making for a complex, thoughtful - and unsettling - experience.
"The Merchant of Venice" runs through May 8 at the UW-Milwaukee Peck School of the Arts Mainstage Theatre. Pre-performance talks are available before every performance, 6:30 p.m. Thursdays through Saturdays and 1 p.m. on Sundays. For more information call (414) 298-9929.
