THE MERCHANT OF VENICE

Queen’s Theatre ends its spring season with a glitzy interpretation of what’s believed to be the Bard’s breakthrough as a dramatist.

More than a decade has passed since internationally acclaimed director Glen Walford’s last Queen’s production and on this evidence, and this production is definitely worth the wait.

Making a welcome appearance stage-side of the curtain, Queen’s associate director Matt Devitt delivers a performance befitting such an integral character, as scornful ducat-driven Shylock. The personification of ruthlessness, yet also sorrow, Devitt taps into a whole spectrum of emotions for his bearded rotund Jew.

Stuart Organ’s rasping-voiced Antonio is as passionately conveyed as Devitt’s Shylock, although the latter utters the most heartfelt words: “If you prick us, do we not bleed?”

Re-acquainted with their trusty instruments, the resident actor-musicians are joined by Dominic Gerrard, as besotted and loyal Bassanio and the commanding Josie Taylor, as shrewd Portia, both marking their Queen’s debuts commendably.

While Rodney Ford’s Venetian set remains fairly static, with few transitions throughout the plot strands, outrageous costumes reminiscent of the New Romantic era of the 1980s add verve, and the casket conundrum scenes and court proceedings are certainly high on tension. Some of the dramatic scenes could be acted with less comedy, one of only few criticisms.

Queen’s Theatre’s Shakespeare production is a gamble that pays off and whether paying in pounds, ducats or even a pound of flesh, it’s a fee well spent.
 

- Nick Dines

Modern take on Shakespeare's 'pound of flesh' play is WELL WORTH SEEING

Cut to the Chase theatre company always put on a good show at the Queen’s Theatre, and their latest performance of William Shakespeare’s comic thriller of love, honour and revenge didn’t disappoint.

The Merchant of Venice at the theatre in Billet Lane, Hornchurch was a modernised take on the Shakespeare classic.

It tells the story of Portia, a young heiress of Belmont, who has to choose a suitor as stipulated in her father’s will, so challenges three men to select one of the caskets made from gold, silver and lead.

Money

Bassanio, one of the suitors, cannot afford to travel, and his friend Antonio is unable to lend him the money, so they enter an agreement with Jewish moneylender Shylock. It states the money must be repaid within three months or Shylock can claim a pound of Antonio’s flesh “nearest the merchant’s heart.”

Dominic Gerrard played Bassanio well and his character’s on-stage chemistry with Portia, played by Josie Taylor, was clear to see.

The stage design, by Rodney Ford, was minimalist which I think enabled the scenes to flow well throughout the production, keeping it consistent for audiences, despite the many changing scenes.

A personal highlight would be the musical performance at the end which brought the Shakespearean classic into the modern era.

The play runs until May 12. Tickets cost £15 - £24 and can be booked on 01708 443333 or at www.queens-theatre.co.uk

-Paul McSweeny, Fri 27 Apr 2012
 

BY ANY standard, eleven actors in one production is enough to glow with promise, especially if they’re from the Queen’s.

In what can only be described as a memorable theatrical feast, the cut to the chase… company of actor-musicians at the Queen’s Theatre elegantly put their stamp on Shakespeare’s The Merchant of Venice.

Directed by Glen Walford, the classic Shakespearean romantic comedy set in Venice sprang into life with a force delivered skillfully and using every theatrical trick in the book.

Matt Devitt, the theatre’s Associate Director, always gives memorable performances and his Shylock was no exception.

Taking one of Shakespeare’s notorious villains, he turned the hated money lender into an almost likeable character who even gained sympathy from the rapt audience as his world came tumbling down. But he did it with such style and humanity, there was redemption in the character as his lust for revenge for his treatment by Venetian society was given an element of understanding.

A remarkable, outstanding performance and one that shone, which company with such superb actors as Stuart Organ, Jonathan Markwood and Simon Jessop, was a remarkable achievement.

The professional company at the Queen’s is one big family who work for each other and is constantly refreshed by new talent. Two newcomers made their debut in this production; Josie Taylor as Portia and Dominic Gerrard as Bassanio, both slotted in very well becoming ‘family members’ without the bat of an eyelid.

Stuart Organ brought his bearing into full effect as the victim Antonio who came close to losing a pound of flesh. Thankfully he spared us by not taking his shirt off, but when Stuart wants to look forbidding, no one argues.

Another fine performance by Jonathan Markwood as the other love interest, Gratiano, but played in the Markwood rumbustious style of one step short of total privilege.

I am running out of superlatives when it comes to describing the great talent of Simon Jessop, but he owns the stage in just about everything he does.

This is a production that shines in very department and really shouldn’t be missed.

Barry Kirk, Weds 2 May 2012