The Portland Shakespeare Project’s current staging of Shakespeare’s The Merchant of Venice is drawing attention for its nuanced portrayal of themes related to prejudice and xenophobia.
The set-up unfolds with Portia, who reflects on the complexion of her suitors, after the Prince of Morocco fails a riddle game to win her as his wife.
This production, directed by Avital Shira, sets a tone that emphasizes the relevance of Shakespeare’s intentions, portraying the perceptions of characters against a contemporary backdrop.
Using Elise Thoron’s modern-verse translation, the production captures the rhythm of Shakespeare’s original language while making its implications clear to the audience.
Portia’s story is rooted in her father’s challenge to her suitors: they must choose correctly among three boxes containing her portrait in order to win her hand. Meanwhile, Bassanio, the man Portia loves, is in dire financial straits and borrows money from his friend Antonio, portrayed by Emily Sahler.
Antonio is also struggling financially and turns to Shylock, a Jewish moneylender played by Gavin Hoffman, for a loan.
This moment introduces complex ethical dilemmas, as Shylock, embittered by the disdain he has received from the Christians in Venice—including Antonio—proposes a grim agreement: failure to repay the loan means he can claim a pound of flesh.
The ambiguity of villainy in this narrative is a focal point of the production. Neither Shira’s direction nor Shakespeare’s text vilifies a single character entirely.
Sahler’s Antonio embodies the selfless friend to Bassanio yet doesn’t hesitate to label Shylock with derogatory terms, revealing his underlying biases.
Similarly, Portia is portrayed by Annie Leonard as both intelligent and cold-hearted, particularly in her insistence on Shylock’s punishment when disguised as a lawyer.
Artistic director Michael Mendelson’s program notes highlight the historical context of Venice, which once had one of the first Jewish ghettos, where Jews were mandated to wear identifying markers.
However, Shira’s production transcends its historical setting, resonating with contemporary issues prevalent in modern America. At recent political rallies, derogatory terms referencing Shylock have emerged, reflecting the play’s lingering relevance.
The set and costumes further enhance this modern interpretation. Set designer Alex Meyer portrays Venice with minimalistic industrial aesthetics, while costume designer Anya Jones dresses the characters in dark pinstripes reminiscent of American bankers.
Contrastingly, the idyllic Belmont is adorned with greenery and fairy lights, showcasing Portia in an elegant mustard dress and comfortable heels, with Bassanio dressed like a modern rock star.
Hoffman’s Shylock stands out due to his grounded portrayal, delivering his lines with a sense of gravity.
Even while performing with a script in hand, Hoffman immersed himself in the role of a father grappling with the dual loss of his daughter and his money.
The intimate space of the Portland Playhouse is effectively utilized in this production, with actors moving among the audience and incorporating them into their performances.
For instance, Gratiano’s heckling of Shylock during the courtroom scene breaks the fourth wall and brings the audience closer to the action.
The solemnity of Shylock’s exit from the play is particularly striking, as he ascends the stairs slowly, leaving the audience in a heavy silence.
Yet, amidst the darker themes, the production weaves moments of levity and magic. Kyle Colgan’s sound design sets the scene with wave sounds in Venice, juxtaposing with pleasant birdsong in Belmont.
The emotional atmosphere is further enhanced by a Chopin nocturne that underscores moments shared by Jessica and Lorenzo, adding depth to their romantic dialogue.
Lighting design by Thyra Hartshorn heightens tension during the crucial guessing scenes, while Elizabeth Jackson’s portrayal of Nerissa offers a bright counterpoint as Portia’s loyal friend.
Humor is effectively integrated, particularly through Zebadiah Bodine’s performance as Launcelot, adding comic relief amid the drama.
As Bassanio approaches Portia’s house, his triumphant leap onto a bench underscores both joy and a sense of ownership over his newfound relationship.
As the production unfolds, it raises the question of whether The Merchant of Venice still qualifies as a comedy. The answer is suggested in the final moments, which present an extra scene that profoundly challenges established interpretations of the play.
With its compelling direction and modern resonance, Portland Shakespeare Project’s rendition of The Merchant of Venice offers a thought-provoking experience that encourages reflection on societal prejudices, making it a powerful theatrical event.
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