Production directed by Annie Duarte [assisted by Bill Risebero]
Shakespeare’s compelling tale of justice and cruelty, friendship and love came to life in the parish church at last after more than thirty years of avoiding its tricky implications. And how appropriate that it should happen now, considering our present conflicts of morals and money.
There was a briskness about the silent opening sequence on the Rialto which immediately set the mood of the production. One sat back , confident that this would be a worthwhile ‘two hours traffic’.
I was full of admiration for the directors’ management of movement and composition within and around the space, and there were so many excellent individual performances that all deserve a mention.
I found Margaret Pritchard’s Portia refreshingly different from other Portias I have seen – “feisty” comes to mind – “modern” in keeping with the chosen period and in full charge of proceedings. The combination with Gaynor Bassey’s Nerissa worked extremely well. Their exchange in their opening scene regarding Portia’s past suitors was delightfully conducted.
I was particularly impressed by Hoda Ali’s interpretation of Jessica. I think she caught the discomfort of this difficult character very well indeed. Her suitor, Lorenzo, played sympathetically by Jon Waters, brought a note of honesty to at least one lover with those unforgettable lines spoken from the moonlit bank in Belmont.
Jon Siddall as Antonio was well cast. His tenderness towards Bassanio was touching though the vicious contrast of his attitude towards Shylock – “How you storm!” – could perhaps have been even stronger. Moray Jones’ Bassanio was clear, competent and thoughtful, a part not easy to interpret successfully. Adam Baxter’s Gratiano was as exuberant as I had hoped it would be, and then some! In fact all who had the opportunity to justify the comedy element in the play did so in spades.
The ever reliable Simon Malpas gave us a steady and sensible Salarino in contrast to his mate, Solanio [Stephen Clarke] whose flights of comic fancy had us in stitches, whereas most Solanios I have seen have more or less faded into the scenery.
The two boy servants to Portia played by Jack and James Groves were quite delightful. We enjoyed their amusing antics, so much in keeping with this particular Portia’s household. Their lovely voices did full justice to Barbara Alden’s training, enhancing her original compositions and teaching them to sing sweetly and convincingly in Italian!
John Willmer’s Doge was as to the manner born, and the small but significant part of Tubal was superbly played by our esteemed Vicar.
Shakespeare’s sometimes tiresome comics played their roles with enthusiasm and obvious enjoyment. The scene between young and old Gobbo [Harlequin and Cliff Burgess] was hilarious and oddly moving at the same time.
The casket scenes are of course parables of moral choices and Portia’s two suitors [Edward Smith and Graham Fitzgerald] with their flamboyance of costume and manners contributed well to the comedy of the play.
Which brings me to the heart of the production – Bill Risebero’s deeply moving Shylock. His flawless performance strongly emphasised the element of pity in his situation. The loss of his daughter, his “flesh and blood” clearly far outweighed any material loss. Each of his appearances on stage had the uneasy effect of reflecting the guilt behind the comedy.
Something needs also to be said about the technical side of the production. The Stage Management was clearly in the capable hands of Christine Risebero. The simple box furnishings were excellently handled and totally fit for purpose while making a striking feature of the caskets, so beautifully crafted by Maggie Willmer. The church itself provided the set. Howard Hudson had designed the lighting with his usual professional skill, ably assisted by Jane Mayfield, her debut in this department. The costumes were a constant colourful surprise and delight, enhancing a period not long gone by. The music that moved us “with concord of sweet sounds” and moved the play effortlessly between scenes was chosen and arranged by Director Annie Duarte herself, deftly controlled by Rebecca Siddall.
Above all, it was plain to see that this had been, in the making, a particularly happy production.
Pat Gardner
Another view of our latest Shakespeare production
“In sooth I know not why I am so sad”, says Antonia at the start of the play. At the end he’s lucky to have got out alive! Personally, having experienced tears of rage, tears of rejection, tears of love, tears of sympathy during the course of it, I was finally left in tears of happiness. Shakespeare’s poetry and wonderful humanity together with the Players’ empathy and ease had worked their magic again. I believe that Shakespeare takes no sides but shows us all sides.
The perfectly pitched performances of Bill and Margaret and the rest under Annie’s compassionate direction showed why this “controversial” play is a Comedy, where the characters live to have another chance.
Shakespeare is notoriously stingy with the stage directions, and I thought Annie used the licence this gives to very good effect. I was moved by the “offstage” moment when Shylock climbed the stairs to the gallery calling for Jessica though knowing she had flown. The trial scene which was particularly well presented contained two striking moments: one, when Tubal and his fellow Jews abandon Shylock in their disgust at this obsessive pursuit of his pound of flesh, and when Shylock defeated drops his dagger – and seems relieved not to have had to use it.
In the summer of 2004 the Hampstead Players were in Monflanquin with “A Midsummer Night’s Dream” – our fourth tour of France after two Tragedies and a history – when rain stopped play. Sheltering from the storm we found ourselves surrounded by the audience offering suggestions for our next Shakespeare. I remember that the one that got the most votes was “The Merchant of Venice”. Five years later we’ve taken up their suggestion with Peter Quince metamorphosed into Shylock – what would Bottom say! – and it looked good in the beauty of our church and in the air of Pimlico – if not yet destined for France.
David Gardner