This was an enormously exciting production of Merchant of Venice, a reminder that theater can be (in fact, must be!) nervy.
The Merchant of Venice
Shakespeare & Company’s staging of Merchant of Venice is the strongest this critic has ever seen or could hope to.
Despite this, he is vexed by how the play draws out the anti-Semitism of English audiences
This production of Shakespeare’s ‘The Merchant of Venice” tries to have it both ways: a show about intolerance, bigotry, and hatred is set in a ‘politically correct’ past.
“As an artist, you probably know when a project pulls at you, sometimes kicking and screaming. Shylock definitely has me by the back of the neck.”
This daring musical version of “The Merchant of Venice” provides a fascinating re-imagining of a classic play that explores many of the themes and tropes of the original more deeply than many modern productions do.
An exciting month, and that isn’t hyperbole. A couple of North American premieres: a futuristic opera from MIT’s Tod Machover and poet Robert Pinsky and a drama tweaking The New Testament from Howard Brenton. Toss in iconic director Peter Brook staging Beckett, F. Murray Abraham as Shylock, and Car Talk:The Musical and you are talking about taking out the smelling salts