Word: shylocking
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Dates: during 1960-1969
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...Portia states, "the best deserving a fair lady." But John Cunningham uses an annoyingly exaggerated clipped delivery, and his inflections leave no doubt that he is less drawn to the fair lady than to her wealth ("a lady richly left,"sunny locks. . . like a golden fleece"). And when Shylock puts a finger on his shoulder, he pulls back in a gesture of loathing.M...
...various characters appear and the tale unfolds, we find ourselves in the midst of a mass of unpleasant people. Shylock is not the only person interested in ducats; it seems that just about everybody in Venice and Belmont is a materialistic money-grubber. The very name Shylock is a transliteration of shalach, a Hebrew word for bird-of-prey; but here, almost all the characters are, in their diverse ways, birds-of-prey. These are unsavory people, notably lacking in spiritual values. (Is director Kahn trying to show us an image of mid-20th-century society...
John Devlin plays Antonio, the eponymous merchant, with a good deal of snarling, and puts plenty of punch into his diatribe against Shylock's "Jewish heart." At the end of the show, when all the plots have been straightened out and all the pairs of lovers hooked up, Kahn keeps Antonio alone on the stage after all the others have exited, and the merchant slowly tears in two the letter in his hand. We are not to have our package tied up with a blue-ribbon...
Sexy Grace. "Emeralds," set to Gabriel Faure's stage music for Pelleas et Melisande and Shylock, unfolded a set of suave, subtly intertwining dances that managed to be at once sweeping and intimately sensuous. Dancers Mimi Paul and Francisco Moncion captured the combination of sophistication and passion in a pas de deux that was full of tantalizing hesitations but never without easy flow. In "Diamonds," Balanchine turned to the grand manner of classical ballet, spinning out variations that resembled traditional Russian dancing removed from the law of gravity. To the score of Tchaikovsky's Symphony No. 3, Suzanne...
...true that in Shakespeare's own lifetime the play was occasionally thus designated. And it is just as true that Falstaff is indeed the work's foremost figure. By this criterion we ought to turn Julius Caesar into Brutus, Cymbeline into Imogen, and The Merchant of Venice into Shylock...