Il mercante di Venezia

A chance to see Lord and Lady Olivier in a work of Shakespeare is never to be passed up. Laurence Olivier is the enigmatic Shylock whose interpretation has changed over the century and Joan Plowright whose hand all the young folk in Venice but one seems to want.

Of course I came into watching The Merchant Of Venice expecting to see Laurence Oliver doing his patented mittel-Europa accent best known for use in The Boys From Brazil. Instead we got a most cultured Shylock not someone you'd otherwise might think of selling from a pushcart on the Lower East Side.

I think Olivier did it this way because Shylock the money lender is trying his best to assimilate into Venetian society as far as he can and still be true to his culture. He only goes so far, daughter Jessica would sooner convert and marry Lorenzo who really is a fortune hunting snake. They are played by Louise Purnell and Malcolm Reid.

The main plot however revolves around young Basanio who is Jeremy Brett looking to marry Portia who is the wealthiest young woman around and she's got many suitors. Brett's a nice kid but kind of a spendthrift with his money. He's got an old indulgent friend in Antonio played by Anthony Nicholls who is both a merchant and a moneylender as well in competition with Shylock. He charges a lot less interest and undercuts him in business. That gives Nicholls a lot of pleasure because he doesn't like Jews at all, he's one proud anti-Semite.

So Brett needs a backer and Nicholls would like to, but as we would say today he's got a cash flow problem as all his money is tied up with goods at sea in his mercantile business. For past and present slights. Olivier names as his collateral a pound of Nicholls's flesh.

For those who've never seen the play these disputes are arbitrated by the Duke Of Venice. And the Duke who is Benjamin Wittrow has a novel interpretation.

Over the years as anti-Semitism has become more odious Shylock has become a more sympathetic figure. For centuries he was given the crooked nose, the funny way of speaking and was considered the blackest of villains who gets his in the end. As I said before Shylock is in fact trying to assimilate as best he can, but the people's prejudices are smug and self serving. And his is a natural reaction of a father who doesn't like his daughter's choice of a husband. After all she's marrying a Shegetz in his culture.

Even if you're not liking how Olivier sees Shylock he certainly is always interesting and to watch. As this well cast ensemble doing The Merchant Of Venice.

This production of The Merchant of Venice is set in Victorian times, which rather works against the play in some part. The Victorians were far more subtle in their anti-Semitism than the Elizabethans and it just strikes a false note to see it so openly expressed before a Jew by these Victorian gentlemen.

Much of the text is there, which is a relief as so many producers think they know better than Shakespeare how to put a play together, although Miller does omit some lines. For instance we don't hear Shylock loudly lamenting his daughter and his ducats, first with 'O my daughter' then 'O my ducats' and switching between the two with the ducats gradually winning out in this tussle between his losses. It's a marvelous moment and, apart from its comic qualities, is very revealing of the avarice at the heart of Shylock.

I think Miller left it out because he didn't want people laughing at Shylock too much. But this is after all a comedy rather than a tragedy and it is owing to Shakespeare's genius that we can both laugh at and sympathize with Shylock at different moments of the play. In fact Miller inserts himself too much into this play, especially where Jessica, Shylock's daughter, is concerned. With no justification at all he shows her as becoming discontent with her match with Lorenzo, brooding and regretful. This darkens the close of the play unnecessarily.

Miller should have let the play speak for itself without tromping through it in heavy boots to impose a modern sensibility on the actors. It's a shame because those actors are excellent in their roles. This could have been a far better production if Miller had just kept his ego in check a little, but he finds that difficult in most of his productions.

It's worth seeing though, as almost every production of Shakespeare is. His words are there and that is really all that counts at the end of the day. BTW at one point Bassanio says to Portia, "Lady, you have bereft me of all words." I know it's the character speaking but for an instant the idea came to my mind of Shakespeare being bereft of words. It was like thinking of the sun not shining or water not being wet. An impossibility!

'The Merchant of Venice' is not among my favourites of William Shakespeare's plays, but in no way is that a knock. It is one of his most controversial plays, being dubbed by many as anti-semitic and sparks much debate today, not just for that but also analysing the character of Shylock (as to whether he is a villain or a sympathetic character) and there is debate frequently of whether the play is a comedy or tragedy. It is also one of his most interesting, as an overall play and when analysing the text and characters, especially for Shylock's Act 3 Scene 1 speech and Shylock himself.

It's a play that has a mostly solid DVD competition (that includes the 1980 BBC Television Shakespeare production, 2004 film and the one with Jonathan Pryce as Shylock), with the only disappointment in my view being the 2015 Royal Shakespeare Company production for primarily the under-cooked stage direction (as a result of trying to put more emphasis on Antonio and not doing enough with everything else) and an out of his depth Shylock. This 1973 film is not perfect but overall it is one of the better available versions of 'The Merchant of Venice'.

Am going to be another person that felt that Charles Kay and Stefan Greif resort too much to clownish mugging. Often it is Launcelot that's the annoying character but not here.

More perhaps could have done with Antonio's conversion to mercy.

However, there is so much to like about this version of 'The Merchant of Venice'. Even though updated, here than Victorian era rather than the Elizabethan one, the setting is very handsomely and handsomely designed captured beautifully by the photography. Carl Davis' score is suitably rousing with also some truly ravishingly orchestrated parts. Jonathan Miller's direction is intelligently done and tasteful, with no pointless or gratuitous touches that make no sense (a bugbear of mine for non-traditional productions of operas, ballets and plays). The characters of Shylock and Portia are especially well directed.

Furthermore, Shakespeare's mastery of language and writing shines through all the time in the play, given with full impact from beginning to end here. 'The Merchant of Venice' is full of witty and ironic humour, a vast majority of it inducing many laughs without being overdone generally. The more serious, somewhat tragic elements of the story are poignant while not being overly-serious that it becomes dreary. Act 3 Scene 1 is the play's turning point and handled beautifully. The story is never static or too busy, while always being compelling.

Laurence Olivier is superb as Shylock, it was a complex suitably ambiguous portrayal that didn't make him too sympathetic or too much of a villain (getting that balance right and not falling in either extreme is what is difficult about the part). The other standout is Joan Plowright as a very intelligent Portia while Jeremy Brett is a strong presence as Bassanio. Personally liked Anthony Nicholls' Antonio, it was a subtle portrayal while successful in showing the nastier side of Antonio in his treatment of Shylock (without going too far on that). Denis Lawson manages to achieve the near-impossible feat of not making Launcelot, one of Shakespeare's most crude and obnoxious characters, annoying while still having personality.

Overall, very well done version to be seen for Olivier. 8/10

Olivier's Shylock is a wonderful characterization, painful to watch (as it should be) at times, but the show belongs to Joan Plowright as Portia. She is the consummate lady, at times abstracted or petulant (did her wise old father perhaps spoil her a bit?) but always magnetic. Jeremy "Freddy Eynsford-Hill" Brett is a sweet young Bassanio (how did he grow up to be Sherlock Holmes?) and Anna Carteret a smooth, smiling Nerissa, and Miller does interesting things with Jessica and Lorenzo in Act Five. My one quibble is with Anthony Nicholls as Antonio. He and Shylock go around like white-haired doppelgangers in black top hats and cloaks, which is a nice touch, but he himself is just *there*. We don't know what Bassanio sees in him, what he sees in Bassanio, why he hates Shylock so much, why Shylock would bother to hate him, if he's at all distressed at the prospect of forfeiting his bond or concerned about his ships. The suitors mug rather and the singing ladies in the final casket scene are somewhat painful, but it's a creditable job overall.

If The Merchant of Venice were a tragedy and Shylock its protagonist, this would be a perfect production. Since it is a comedy, and Shylock is the villain, there are problems.

This British National Theatre version cuts Shylock's asides, Jessica's scene in male attire, Old Gobbo, and much of Lancelot Gobbo.

Set in Edwardian England, it adds voice-overs (an off-screen scream after Shylock leaves the court and a Jewish requiem - the "Kaddish" - at the end of the play) and photographs of his beloved wife and daughter to make Shylock seem more sympathetic. As part of this process, Jessica and Lorenzo become unsympathetic characters who do not appear to be in love with each other. The romantic, "in-such-a-night" scene (5.1) is played with the two standing as far apart as possible, with the cold, presumably fortune-hunting Lorenzo smoking a pipe. The production ends with a guilt-stricken Jessica alone.

The cast, though a bit old for the parts, is uniformly and undeniably charming, and Olivier ranges from excellent to superb.

This reinterpretation of the play is by no means unusual or unjustifiable in a post-Holocaust world, and it makes an effective film.