“In a genuine display of humanity in her direction, Julia Nish-Lapidus does not shy away from the controversial ‘warts and all’ of these superficial characters in ‘The Merchant of Venice.’ She confronts them head-on. These unlikable people are solely concerned with their identity in money, financial prosperity, and status.”

The characters in ‘The Merchant of Venice’ are unlikable individuals.

Every. Single. One. Of. Them. (including the supporting characters right down to Launcelot Gobbo.)

Director Julia Nish-Lapidus does not shy away from the controversial ‘warts and all’ of these superficial characters, not one bit. She recognizes the awful subjugation and othering of a specific group of people in ‘Merchant.’ She knows what makes these characters unlikeable and who’s responsible for it.

It’s Antonio, the merchant, who embodies greed, wealth, financial success, and status the others desire. When the play starts, he tells the audience he’s sad but doesn’t know why.

From an audience perspective, it’s interesting to see the play's inherent sadness and why it’s a challenge to produce today.

That certainly didn’t stop Julia and Sound Designer Matt Nish Lapidus from creating a visual and auditory experience of the preconceptions of ‘Jewishness’ (as Matt says in his Program Note.)

Shylock’s story of demanding Antonio’s pound of flesh when the 3000-ducat bond is forfeited perpetuates horrible Jewish tropes. In reality, Shylock wants Antonio dead. Thus the horrendous stereotypes of the Jewish people.

Bassanio does not truly love the wealthy heiress, Portia. He borrows money (again) from Antonio to get to Belmont first and then plays the silly game of selecting the correct chest of gold and silver, leading to Portia’s hand in marriage. At the end of the play, the disguised Portia then tricks Bassanio and demands something from him, which he gives at Antonio's request.

Are Bassanio and Portia, Nerissa and Gratiano indeed in love? Absolutely not. They have all been swayed by greed. Nish-Lapidus skillfully positions the characters in the playing space as if they are perpetually engaged in a chess game, contemplating their next move. Through her blocking, she establishes distance and a void between the characters, and they rarely come intimately close to one another until their issues are resolved in the final scene.

Bassanio acquiesces to Antonio’s advice and ignores Portia’s earlier wish. The disguised Portia as Doctor Bellario feels she has to trick Bassanio’s love and trust. There’s no love between the young couple. The young man is only interested in Portia’s money and half of her financial prosperity because he has claims to it from Portia’s late father’s will.

What is the other element Nish-Lapidus confronts about Shakespeare Bash’d’s ‘Merchant’?

Although she highlights some of the play’s comic moments, ‘Merchant’ cannot be considered one by 21st-century standards. The text has problems. Religion and identity politics have replaced the humour Elizabethans would have found in the play.

Christianity and Judaism have been sorely put to the test and are in constant battle.

Antonio (Jesse Nerenberg) has often criticized Shylock (Alon Nashman) for charging interest on loans. The merchant has usually insulted him or spit upon Shylock’s clothing, and he has never retaliated. The other characters frequently do not refer to Shylock by name; instead, they often call him Jew. Even Antonio calling the moneylender Good Shylock does not diminish the bond forfeiture and what is entitled by law. Shylock will not even accept twice the value of the bond. He finally feels that he will obtain justice and revenge for the years of Antonio’s taunting and teasing.

Regarding the identity politics within the play, Portia (Hallie Seline) appears snobbish and conceited in her approach to her potential suitors, the Princes of Morocco (a regal-looking Carson Somanlall) and Arragon (a comically arrogant Adriano Reis). Portia demonstrates apparent prejudice against Morocco. With Arragon, Portia acknowledges his virtues but firmly places him below her because of her social status. Nevertheless, she abandons the aloof identity she previously displayed and is willing to guide Bassanio (Cameron Laurie), on selecting the right casket, provided he patiently waits. She never did this for Morocco and Arragon. She wanted them to depart as soon as possible.

The BMO Incubator Space sunken playing space at the Theatre Centre's ‘in-the-round’ setting is well-suited for this ‘Merchant’ staging. The audience sits on all sides, just feet from the quickly moving plot action. Although an in-the-round setting can present challenges with audience sightlines, I experienced no issues. Thanks to Sruthi Suresan's lighting design, I could see all four corners of the sunken playing space.

As mentioned, Julia Nish-Lapidus creatively stages the play's opening with a genuine touch of humanity and identity. Instead of launching immediately into the production, we are at a Shabbat communal gathering. A beautifully decorated table contains the familiar items needed: candles, challah bread, drinking glasses, and wine. I think the Torah was also on the table, but I wasn’t sure and forgot to ask when I left.

Before the actors gather around the table, they kibbutz with or hug each other when someone enters. It’s poignant and moving and keeps me focused. Snippets of lines from the play are recited. I didn’t recognize some of the lines, which made me wonder if there was a connection to religion or faith.

Performances are grounded in truth and reality. The final scene between Alon Nashman and Cameron Scott is haunting.

Nashman delivers a carefully nuanced performance filled with emotional depth, portraying Shylock’s highs and lows and the humiliation of public insults. His delivery of “Hath Not a Jew’ deeply resonates, penetrating the heart. Nashman pauses, breathes, reflects, and continues the monologue with humanity and grit. His profound anger and sorrow over his daughter Jessica’s (Cameron Scott) elopement with the Christian Lorenzo (Ori Black) and the theft of the ring given to him by his late wife Leah remains palpably intense, especially when he tells his friend Tubal (James Wallis): “I would not have given it for a wilderness of monkeys.”

Hallie Seline is a cleverly astute Portia who can manipulate people against each other when necessary. She has her lady-in-waiting and confidante, Nerissa (a spirited Brittany Kay), completely under her influence. As the disguised courtroom legal expert Doctor Bellario overseeing the case between Shylock and Antonio, Seline’s delivery of ‘The quality of mercy’ is strictly business. Nonetheless, Seline infuses a touch of compassion into ‘Bellario’s’ voice, kindly urging Shylock to reciprocate and withdraw the case against Antonio. When that doesn’t happen, Seline skillfully navigates around Nashman’s Shylock, poised to seize on every word he utters.

Cameron Laurie’s Bassanio seems to have a knowing twinkle in his eye when he selects the correct casket. As he discovers that he will share half of Portia’s wealth, Laurie’s pause to let that information sink in is perfect. It appears he is calculating the what-ifs of money in his mind. Laurie and Jesse Nerenberg’s Antonio seem to have formed a unique friendship. Does it cross the line into something more than mere friendship? I’m not sure about that, but the looks they exchange might suggest otherwise.

Teaching ‘The Merchant of Venice’ to high school students years ago made me wonder if I had done justice to the play as much as I could have.

Watching this fine production made me realize how important it is for high school students to see this version.

I hear the production is sold out. I have no idea if there are school matinee performances at this time. In any event, it might be a good idea to contact Shakespeare Bash’d to inquire about school matinees or ticket availability.

Running time: approximately 2 hours and 30 minutes with one interval/intermission.

'The Merchant of Venice' runs until February 23 at the Theatre Centre, 1115 Queen Street West, Toronto. For tickets: https://www.shakespearebashd.com or call the Theatre Box Office (416) 538-0988 for any returns.

SHAKESPEARE BASH’d presents
William Shakespeare’s ‘The Merchant of Venice’
Director: Julia Nish-Lapidus
Sound Designer: Matt Nish-Lapidus
Lighting Designer: Sruthi Suresan
Stage Manager: M Fera

Performers: Ori Black, Sofia Contal, Brittany Kay, Cameron Laurie, Alon Nashman, Jesse Nerenberg, Adriano Reis, Asher Rose, Cameron Scott, Hallie Seline, Carson Somanlall, James Wallis, Arielle Zamora.