Review: Shakespeare's THE MERCHANT OF VENICE presented by Shoreside Theatre at The Pumphouse, Takapuna.

Opening night of the first play of the Shoreside's Auckland Shakespeare in the Park - and it's a clever comedy, its controversy eloquently driven by polarised emotions: friendship, revenge, love, hate, justice, mercy. Whether this is your first time or another of many viewings, there is much to surprise, engage and amuse you in the superb and imaginative direction by the director, Trevor Sharpe. Shakespeare meant his audiences to be addressed directly and to feel as if the thoughts being spoken, are being spoken immediately and spontaneously to us. His text is dialogue not poetry.

Sharpe's direction is astute and precise, with Shakespeare's dialogue expressed in delivery that is polished, emotively-charged, well-articulated and well-paced. The intent of the text is easy to follow - even if this is your first time braving Shakespeare. You will laugh (a lot!) and you will understand the prejudice that motivates Shylock: "If you do poison us, do we not die? If you wrong us, should we not revenge?"

The story line isn't too complicated. The emotional pendulum swings from love to hate and from comedy to injustice throughout. Venice is a strong trading city; there is a longstanding hatred between the Jews, the professional moneylenders of this period and the Christians, the traders. Ineffectual businessman but worthy and genuine suitor (as it turns out) Bassanio (Mark Wilson) needs money to woo a wealthy heiress, Portia (Meg Andrews) in Padua. Best friend and kind ally, Antonio (Jason Moffatt) offers to finance the courtship, but needs to borrow money himself from Shylock (Ben Plummer).

An "amusing" contract is drawn up and the forfeit to be "paid' is a pound of flesh if the loan is not repaid within three months. Ben Plummer's accented and resonant tones powerfully point the pathos (of Shylock's well-known words) that addresses the injustice of prejudice and bullying: "Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons...do we not bleed?" The eloquence reminds us that all people, even those who are not of the majority culture, are still human.

Shylock's daughter, Jessica (Megan Hails) exacerbates Shylock's hatred by stealing a box of jewels and ducats and eloping with a Christian, Lorenzo (Tobias Furmanski). This is a delightful couple, their love beautifully and sweetly cemented by music, romance and courage.

Shakespeare wrings every possible drop of drama out of the casket story. The Prince of Morocco (John Charlton)presents a suitor no one would want to marry, and the Prince of Arragon (Paul Thompson) is pomposity personified. Because we have seen two suitors fail, we all know, and so does Portia - that the lead casket is the right choice. It is an inspirational, intriguing and original directorial choice to have Bassanio sing the song " Tell me where is fancy bred - or in the heart or in the head?" as he reasons his way to the right answer.

Of course, as a result, we get another love coupling along the way. Beautiful and mischievous maid Nerissa (Adele Tunnicliff) dances her way quickly into Gratiano's (Mat Dawidowski) affections, taming the convincingly headstrong and hot youth.

As fate would have it, Antonio's ships are lost at sea, and Shylock demands his bond be paid. A powerful court case debates the qualities of mercy and justice. Precision in the contract proves to be important. We hear the intelligence of the lawyer, the disguised Portia, in "warrior role" convincingly battling to save her husband's friend.

The whole cast can be congratulated on the way their integrated physicality and vocal performance bring the text to life. Any play is more than just those major characters. This is a talented and cohesive cast who all contribute to the play's impact. They are immersed in their roles, convincing, vibrant, entirely focused and sometimes endearing. Line delivery is fresh and spontaneous, with a spirited reality. This was very evident in Balthazar (Kim Kindley) who's so obviously wowed by Bassanio - the "likely ambassador of love". Congratulations on juggling this role with being Stage Manager and props as well! Well done to Jessica Keesing-Styles and Chris Smith who portray an impressive variety of characters in their repertoire.

Shakespeare provided a fabric rich in comedy and this was well realised. There's the energetically (and frenetic) clowning of Commedia del'Arte in Launcelot Gobbo (Monique Rabie). Gobbo's conflict whether to leave Shylock is presented with an original and well-executed puppetry. Shakespeare's sexual innuendo is achieved with winks and smiles while engaging us in the opening moments and maintaining plot continuity: Solanio (Michelle Atkinson) and Salerio (Jordan Henare) are likeable, physicalised and fun. We have the intellectual banter and repartee between Bassanio and Portia, with the dramatic and ironic entrapments particularly well achieved, as in "the ring" sequence. It's after all, just a bit of fun.

The outdoor multi-levelled venue is employed to its full potential with varied use of spaces, well-timed entrances and exits and well-positioned action. Subtle use of levels and the front seats are employed effectively to bring the action forward. The play presents again

Shakespeare's timeless truth that not everything you see is what it seems to be! Beware of smiling villains and "all that glistens is not gold".

With precisely directed, focused and energised actors and creative lighting (Zac Ridley and Matt Goldsbro'), and effective costume design (Lyn Carlisle), the production has all you can fancy in your heart and in your head: comedic flair, logical and emotional truth and audience connection.

The 2022 Auckland Shakespeare in the Park - presented by Shoreside Theatre (THE MERCHANT OF VENICE and TWO GENTLEMEN OF VERONA) runs January 22 - February 19. Tickets on eventfinda.co.nz or (09) 489 8360. Restricted numbers due to RED but still performing! Booking will be essential. Don't miss out!

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