Infinitely interpreted, The Globe production is both satisfying and frustrating

By Charlene Baldridge | SDUN Theater Critic

The Old Globe Shakespeare Festival Artistic Director Adrian Noble sets his production of Shakespeare’s “The Merchant of Venice” on raised, platform “land” above the canals of Venice, setting up a spatial constriction that causes anxiety in the viewer, who fears tables, chairs and denizens will tumble into Mylar waters (scenic design by Ralph Funicello). No mishaps occurred opening night June 29.

The mechanics of important other scenes – Portia’s palace in Belmont and a Venetian courtroom in which the moneylender Shylock (played by Miles Anderson) sues the merchant Antonio (Donald Carrier) for his bond – are eased by sliding the land back and forth.

The palace belonging to Portia (Krystel Lucas, Hippolyta in “A Midsummer Night’s Dream”) is especially opulent and sensuous, first appearing far upstage and gliding downstage like an exotic moveable harem.

Here the princes of Morocco (Nic Few) and Arragon (Christopher Salazar) vie for Portia’s hand in marriage by selecting one of three caskets: gold, silver or lead. The winning box contains Portia’s portrait. Each selects the wrong box, much to her relief. Then comes Bassanio (Lucas Hall), who wins the wealthy woman.

In order to woo Portia, Bassanio seeks to borrow a substantial sum from his older friend Antonio, who’s been feeling melancholy, perhaps because he fears he will lose Bassanio’s companionship when he marries (more is implied here). Antonio’s merchant ships are all at sea. Cash flow is nil.

Bassanio and his clownish friend Gratiano (Triney Sandoval) go to the wealthy Jew, Shylock, for the needed funds. Antonio guarantees the loan. Shylock hates Antonio and stipulates that should the bond be “forfeit” – unpaid within stipulated time – he will exact a pound of the merchant’s flesh.

Meanwhile, Shylock’s daughter Jessica (Winslow Corbett) elopes with Bassanio’s friend Lorenzo (Adam Gerber), having stolen jewels and ducats from her father and forsaking her religion. Jessica and Lorenzo flee to Belmont.

About the time Bassanio wins Portia’s hand, and Gratiano gets a “yes” from her lady-in-waiting Nerissa (Ryman Sneed), all of Antonio’s ships are reported lost. Word comes to Belmont that Shylock is demanding his pound of flesh in court.

As soon as Bassanio and Gratiano leave for Venice, Portia and Nerissa disguise themselves as young lawyers. In the famous “Quality of Mercy” scene, Portia defends Shylock’s right to take the pound of flesh but says that nowhere in the law has he the right to shed the blood of a Christian, and furthermore if he does his life will be forfeit. Thus the women save the day.

Instead of sentencing Shylock to death, the Duke of Venice (the solid Charles Janasz), strips him of his wealth and commands he become a Christian. Clouds hang over the apparently joyous ending, in which all live happily ever after with the exception of Antonio and Shylock.

This play, having been experienced several times over the past decade-plus has become one of the writer’s favorite Shakespeare works because of its infinite possibilities of interpretation.

The Globe’s company is mixed: the production, satisfying in many aspects and frustrating in others. Anderson’s Shylock is fine and touching, though his voice stays mostly in treble range. As Antonio, Carrier was oddly disappointing, his melancholy overwhelming his juice.

I loved Lucas’ commanding performance in “Dream” but feel her Portia lacks wisdom and tenderness. Thus, Hall’s Bassanio seems all the more callow, but it’s a thankless role anyway. Of all the Lancelot Gobbos I’ve seen, John Lavelle’s was the least defined. Sandoval’s clown almost stole the show. Others gave little sense of who their characters are and what they are doing in this Shakespeare play.

Sound designer Dan Moses Schreier effectively employs the music of Gustav Mahler throughout. Deirdre Clancy is costume designer, Alan Burett the lighting designer.

“The Merchant of Venice” continues in rotating repertory with “A Midsummer Night’s Dream” and Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” through September 28.

“The Merchant of Venice”
WHERE: The Old Globe Theatre, 1363 Old Globe Way (Balboa Park)
WHEN: In rotating repertory through Sept. 28
INFO: 619-234-5623
WEB: theoldglobe.org