Word: portia
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Dates: during 1990-1999
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Shakespeare's The Merchant of Venice is a sinister sort of comedy. Antonio, a wealthy merchant whose monies are invested in risky ventures overseas, lends out the sum of 3,000 ducats so that his friend Bassanio can court the rich heiress Portia. To get the cash, Antonio must borrow it from the Jewish moneylender Shylock. Shylock agrees to lend him the sum for three months but demands as his bond a pound of Antonio's flesh. A contract is drawn up, signed and sealed, and misery descends on both parties. The mutual hatred bound up in a loan under...
...rise from a state of dogged ineffectiveness for only a brief moment in his courtship with a stirring monologue condemning ostentation. The reversal of the hero roles in The Merchant of Venice, though effective and interesting, is at times taken a bit too far. When Bassanio throws himself at Portia's feet--kicking and yammering petulantly for her forgiveness--one senses that Edelman may have been too diligent in his revision...
...other hand, the fact is that Portia is worth it. Tegan Shohet '01 seems to take a new delight in every scene she is in, navigating Shakespeare's pentameter flawlessly and bringing out its comedy. Her tireless work in this production helps it steer clear of unnecessary angst or belligerent darkness...
...cast his antagonist in the stereotypical role of the miser. As the play progresses, we see the stereotype reflected onto its creators as money reveals itself to be the foundation for their actions. Antonio's friendship with Bassanio is the relationship between benefactor and courtesan. Bassanio's love for Portia is linked to the fortune she will bring him, and even the marriage between Bassanio's man Gratiano and Portia's maid Nerissa (Catherine Crow HGSE '99) is contingent upon their employers' financial union. The Christians themselves embody the gross materialism they condemn in Shylock, and it taints even...
Edelman's set works effectively to underline this theme of materialism. It seems at first ridiculously simple, consisting only of a large box and the three caskets that contain the key to Portia's fortune. These caskets, the very symbols of greed arranged and rearranged into the various settings of the play gradually drive home the inconsistencies in the Venetians' ideals...