A RESPONSE TO THE RSC’S 'THE MERCHANT OF VENICE'
How to start? Where to begin? This evening’s production of ‘The Merchant of Venice’ confused me, irritated me, drained the very soul from me and, eventually (after 1 hour 35 mins!) drove me from my seat into the relative sanctuary of the foyer bar! (Where I must admit, I remained for the rest of the evening.)
It is always difficult for me, when I’m working so closely on a given text, to fully engage with alternative interpretations of the same work. It’s rather like that moment when you’ve just read a fantastic book and then go and see the film . . . it’s a very rare thing to be dazzled by both!
I don’t consider myself to be an ungracious person but, for some reason, the production we saw failed to excite or inspire me. I was confused by any number of things:
- Why were the house lights left on?
- What was the set supposed to be or suggest?
- Why did the actors mangle the verse?
- Did Jessica have a neck problem (she seemed to stare fixedly at the gods throughout?
- Why did Portia’s caskets seem to contain bottles of Bacardi Breezers?
- What period were the military costumes supposed to be from?
- Why did I not care about anyone?
- And lastly, most regretfully of all, why did Shylock throw away so many great lines??!!
I found no answers, but great solace, in the extra glass of wine I had after you’d all returned for the second half!
Gordon Duffy-McGhie
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