Podcast 55: The Merchant of Venice Casts, Concepts, and Final Thoughts
This week's podcast concludes our month-long discussion of The Merchant of Venice with a few final thoughts on the play, the discussion of a possible production concept or two, and some casting suggestions. Then, we'll finish up with our usual recap of this week's blog entries.
Download | Duration: 00:08:31
Podcast Credits
This podcast was recorded using a Blue Snowball microphone onto a Dell XPS 400 computer, using Adobe Soundbooth recording and editing software.
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If I were directing the play I would focus strongly on the issues of forgiveness and generosity and set them in direct contrast to Shylock’s behavior. It would be a fairly straight forward production, but I would not spare any effort to make it clear that Shylock is a villain. I also would downplay any implication of a homosexual relationship between Bassanio and Antonio. Mostly because I think it has become chic to find homosexual relations between characters, but also because, in the Renaissance, non-sexual, male to male friendship was considered to be a deep, special bond. That’s what I think is going on between Antonio and Bassanio (and if Antonio did desire Bassanio, you have to give him even more credit for his generosity, given that is risking his life to help his friend to a wife). The fifth act would be a true celebration.
Here’s how I would deal with the Jewish question, and Shylock in particular. During the trial, I would have Tubal and some other member of the Jewish community (maybe someone clearly identifiable as a Rabbi) present. Shylock would know they are there and acknowledge them. Each and every time that Shylock refuses to spare Antonio or show him any regard, or makes any comment that shows a hard heart, they would shake their head (or give some other sign of disapproval) and take a step back to the door of the courtroom. Shylock would see this. When Shylock refuses to act mercifully the last time, they would leave, and Shylock would see them go, and realize that he is now alone. His actions endanger the whole Jewish community, in addition to being wicked.
Like you, I find this play difficult. Not so much because of what Shakespeare wrote, but because of the times we live in. I think much of the criticism directed at the characters’ racism (except for Gratiano) is overwrought. Shakespeare created real characters that say the things that real people say (as opposed to the politically correct cartoons that the play’s critics want). I’m tired of the white washing of Shylock. I also love Portia. I think she ranks up there with Viola and Rosalind, and I hate to see her turned into some hypocrite, or fool for love, or completely lost because nobody wants to put on the play. I just don’t know if this play can be properly done now.
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Love your take on the trial!
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