Word: portia
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...actions and retribution that properly belong the stock stage Jew, but has written speeches that (at least to the modern ear) make him something better. And the production seriously stumbles at a critical point in the interpretation of Shylock's position in the play's scheme of redemption. When Portia confounds Shylock by allowing him his pound of flesh but condemning him to death if an iota of blood be spilled in its excision, the reaction of the Venetians is such that it seems a cheap trick rather than a masterly example of a literalist hoist on his own petard...
...quality of the supporting cast was generally high. Portia made effective transitions from sharptongued young woman to romantic lover to merciful judge, though her voice sometimes took on too keen an edge to act as a genuine agent of reconciliation. Antonio (Peter Henderson) was properly grave and honorable; Bassanio (Jeffrey Rubin) was in higher spirits but equally good. Both played straight men, but the success of the play depended on them; unless we are made to feel that they are men of higher moral value than Shylock the play is a heap of incoherence. I would also single...
...scenery, moving back and forth from the crowded, multi-colored streets of Venice to Portia's country house in Belmont, was well-conceived by Joe Mobilia. In many ways, the scenery deserves the lion's share of the credit for integrating Act Five with the rest of the play. On paper the change from the tragic confrontation of justice and mercy in the high pomp of the Doge's court to the light-headed romanticism and cheeky bawdry of the lover's idyll in Belmont is puzzling. It is difficult to get the bad taste of what has been done...
...play at two egregious errors. Two shopfronts are included in the scenery, the first labelled "Sarto" and the second "Gioeneria." Presumably "Sartoria" (tailor's shop) and "Gioielleria" (jeweller's shop) were intended. Much more important, was the inexplicable omission--from a production which admirably omits little else--of Portia's song "Tell me where is fancy bred..." This song is not an ornamental time-waster but an essential piece of narrative; it enables Bassanio to choose the right casket (the one made of lead) by listening to the rhyme-words--"bred," "head," "nourished." Perhaps Portia couldn't sing...
When he was an impoverished law student and she a radiant Portia in a touring Shakespeare company, they spent three delirious days together. It was, Laurence Olivier says, the love of his life, exerting such a powerful hold that he had no choice thereafter but bachelorhood. Katharine Hepburn claims she can't remember a thing about it, but since he is now London's leading barrister, perhaps he will stop his nostalgic mooning and get on with the business of defending the excellent name and fortune she married. Can anyone, after all, seriously believe that she promised...