Review: DISTRICT MERCHANTS a Thought-Provoking Retelling of Shakespeare at Folger Theatre

DISTRICT MERCHANTS, Aaron Posner's new adaptation of Shakespeare's THE MERCHANT OF VENICE, explores the "other-ness" of being outside the white male stations of power. Setting the work in post-Civil War Washington, D.C., the premiere takes a uniquely American look at race, religion, class and gender. DISTRICT MERCHANTS at the Folger Theatre is an important and compelling work that deftly balances humor among weightier, thought-provoking moments.

The title, here, is plural - there are two merchants at the heart of this story who both must make their own opportunities amid social barriers: Shylock, a Jewish businessman, and Antoine, a black man born free in the era of slavery. The Civil War threw them together in a quiet and uncomfortable alliance though their relationship is troubled and contentious. Still it is to Shylock that Antoine turns for a loan.

Posner calls his adaptation "a variation on a theme or a theatrical exploration." In DISTRICT MERCHANTS you do find Shylock, who takes Antoine's bond of a pound of flesh and who does ask "if you prick us do we not bleed?" Here, too, Portia will disguise herself as a male lawyer to access the court. But critical tweaks make the production a meaty reflection on prejudice and what people are willing to risk or compromise to avoid the limitations of intolerance. While contemporary audiences recoil from the anti-Semitism of Shakespeare's THE MERCHANT OF VENICE, Posner's DISTRICT MERCHANTS puts questions of anti-Semitism, racism and sexism front and center, poking and prodding.

The play is set in Washington of the 1870s, a country grappling with the Reconstruction of its society and laws as well as literally reconstructing its towns, farms and infrastructure. It is a Washington where money matters to achieve what you need.

Benjamin Bassanio, who is like a son to Antoine, requests a loan so that he can woo the lovely, quick-witted Portia whose family wealth will offer security and prestige. We soon find that Bassanio, whose white slave-holding father owned both Bassanio and his mother, believes he must pass as white to successfully court Portia. Meanwhile Portia, who is frustrated by the limited opportunities for women, is disguising herself in men's clothes to gain access to the classroom to study law. Shylock's daughter, Jessica, is also chafing under the constraints imposed upon her by her worried father but is silenced when she tries to advocate for more freedom. When she meets Lorenzo on a shopping trip to Eastern Market she discovers a way to escape her father's household. It was not a chance meeting; Lorenzo knows that Shylock shelters not only his daughter but a cache of money and jewels.

The set shows us the scaffolding and girders that will ultimately support the reconstructed buildings of post-War Washington; similarly Posner structures his play to intersperse a series of monologues that give the audience a glimpse of the interior underpinnings that form the foundation of each character. We have great compassion for the characters when we understand the challenges and slights, worries and aspirations, losses and opportunities which are not shared in public encounters.

When Shylock has lost all - his daughter, his wealth, his hope, his future- and calls for Antoine's pound of flesh for the unpaid loan there is great humanity, dignity and empathy for all that each character has weathered. Shylock reaches out to the audience, directly addressing and involving those in the seats, to feel some of the hate and derision he has experienced.

DISTRICT MERCHANTS tackles these questions of voice and opportunity under the adept direction of Michael John Garcés, artistic director of California's Cornerstone Theatre which is dedicated to telling the stories of disparate communities. Garcés brings together a universally strong cast that easily transitions between the heightened scenes that retain their classical imprint to the moments of lighter humor and a more contemporary breaking theater's "fourth wall" to directly engage the audience. Facing off as the two merchants are a commanding Craig Wallace as Antoine and Matthew Boston, a Shylock of great complexity and humanity. Seth Rue's Benjamin Bassanio matures, developing depth and understanding as the play progresses. Maren Bush has energy and effervescence as Portia. Celeste Jones offers a wise counsel and counterpoint as a knowing Nessa, Portia's lady's maid. Dani Stoller as Jessica Is equally skilled with the stylized modern moments of humor or very movingly demonstrating what Jessica is and is not willing to compromise. Akeem Davis brings great heart to Lancelot, newly freed and working for the difficult Shylock who must choose whether to join with Jessica as she makes her escape. William Vaughan's Lorenzo is at once shrewd, naïve and winning.

The stunning scenic design by Tony Cisek, Washington's columns of power askew in the midst of Reconstruction, underscores the chaos and opportunity as the country rebuilds. Meghan Raham's costumes offer beautiful layers, details, textures and contrasts. Geoff Korf's lighting set off both to wonderful effect and help orient us in time and place on the minimal set. Grammy-nominated Christylez Bacon created the original score; James Bigbee Garver designed the sound.

Aaron Posner is known for taking classic works shaking out the pieces and reassembling in a unique way (as with STUPID F**KING BIRD and LIFE SUCKS, both modern retellings of Chekhov works). DISTRICT MERCHANTS, with its American perspective, was commissioned by the Folger Theatre as it marks the 400th year since the Bard's death. DISTRICT MERCHANTS shows American audiences both what is enduring in the work that dates back four centuries as well as the contemporary fear and misunderstanding that we as a nation continue to grapple with and where there are opportunities for hope and connection. DISTRICT MERCHANTS is a fascinating and complex exploration of fear and prejudice; of what unites or divides us. Be part of the conversation DISTRICT MERCHANTS is sure to spark.

Runtime: 2:30 including one intermission

DISTRICT MERCHANTS by Aaron Posner directed by Michael John Garcés, runs through July 3 with performances Tuesdays - Thursdays at 7:30 pm, Fridays and Saturdays at 8 pm, Sunday evenings at 7 pm, and matinees Saturdays and Sundays at 2 pm. The production is at the Folger Theatre, 201 East Capitol Street, Washington, DC 20003. For tickets or for more information, please see the Folger Shakespeare Library site here.

Photos by Teresa Wood. At top and next: the two merchants, Shylock (Matthew Boston) and Antoine (Craig Wallace); next: the cast from left Dani Stoller, Seth Rue, Akeem Davis, Celeste Jones, and William Vaughan on Tony Cisek's atmospheric set; next: Nessa (Celeste Jones, far right) looks on with surprise as Benjamin Bassanio (Seth Rue) professes more than his adoration to Portia (Maren Bush); center: Shylock (Matthew Boston) looks on disapprovingly as Lorenzo (William Vaughan) tries to steal a kind word with Jessica (Dani Stoller); next: Lancelot (Akeem Davis) receives a most important letter from Nessa (Celeste Jones); next: Portia (Maren Bush) tells her employee and confidant Nessa (Celeste Jones) about a certain gentleman; bottom: Lorenzo (William Vaughan) points out the evening's stars to a captivated Jessica (Dani Stoller) with Seth Rue and Maren Bush in background.

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