TCC Theater puts on Shakespeare's 'problem' play

Historians and Shakespeare experts have dubbed it a "problem."

But the directors, cast and crew of this year's Shakespeare In the Grove, which debuts Wednesday, are certain audiences will enjoy and be challenged by their offering of "The Merchant of Venice."

The production runs through June 29 at the outdoor theater on Tidewater Community College's Cedar Road campus, then moves indoors July 2 and 3 to the Jeanne & George Roper Performing Arts Center on Granby Street in Norfolk.

Although "The Merchant of Venice" is considered a comedy because of its entertaining use of mistaken identities, buffoonery, slapstick and puns, Shakespeare In the Grove founder and director Edwin Jacob said the work is considered "a problem play" because it crosses genres.

"It's a romantic comedy with dramatic overtones that borders on farce and borders on drama," he said. "But then such speeches as the 'quality of mercy' and several others removes itself from the play's original farcical nature, showing that there's meaningful things to be found here."

Russ Staggs, who will take on the pivotal role of Shylock the moneylender, agrees with his former teacher.

"It is considered a straight comedy," said Staggs, theater director at nearby Grassfield High School. "But there are those other things going on."

It's the opposite of all Shakespeare's tragedies, Staggs added. "He does give us something to laugh about, but also something to ponder and digest."

Based on Christopher Marlowe's 1592 play "The Jew of Malta," one of "The Merchant of Venice's" other "problems" is that its villain, Shylock, is Jewish. Throughout its history, the play has been seen by some as anti-Semitic. His characterization has run the gamut from a stereotypical, hand-wringing, one-dimensional villain to a sympathetic victim of society's prejudices forced into his actions.

Jacob said Shylock's Jewishness was a device used by playwrights of the Renaissance/Elizabethan era to denote an "outsider," tapping into the anti-Semitism in Medieval and Renaissance Europe where Jews were not accepted and relegated to ghettos.

"I don't think it's anti-religious or anti-Semitic per se," Jacob explained. "Shylock could have been black, like Othello, or a Muslim. It's to show he's different, that he's of an ethnic origin, an isolated character. I think this play is bigger than that."

Jacob said Shylock's now iconic argument during his trial - the famous "...if you prick us, do we not bleed?..." speech - demonstrates his poignancy and humanity.

"How Shylock is viewed, whether he's a villain or victim, or something in between, is ultimately up to the director and cast and then up to the audience to judge," Jacob added. "I saw this play as a challenge: can we make it serious and comedic without hurting or insulting anyone?"

Staggs said being cast as Shylock presented him with a problem: how to portray the character.

"Mr. J and I had a lot of discussions prior to rehearsals," he said. "But we're leaning towards him being a victim. Yes, what he decides to do is reprehensible, but in his own mind he believes everything he's doing is justified and absolutely correct."

Play by play

Written between 1596 and 1598 and set in the bustling maritime commerce of Venice, the play concerns Bassanio who seeks the hand of Portia, a resident of Belmont, a magical estate perfect in every way where comely young women hang out. The broke young man asks his friend Antonio, the play's merchant of Venice, for a loan to enable him to woo the lovely, rich Portia.

But Antonio's money is tied up in several merchant ships due to arrive soon, Bassanio turns to Shylock for the cash. But the moneylender, who hates Antonio, proposes one condition if he's unable to repay on the required due date: a pound of Antonio's flesh.

Shylock hates the merchant because Antonio lends money for no charge, and he once cursed and humiliated him for being a Jew. In addition, Shylock's disdain of Christians is exacerbated when his beloved daughter Jessica flees home with half of his wealth so she can convert and eventually marry her Christian suitor.

The awaited ships don't come in, so when the debt falls due, Shylock hauls Antonio to the court of the Duke of Venice in front of a "judge," who happens to be Portia in disguise. During the play's pivotal trial scene, Shylock loses his case thanks to a loophole, or plot "quibble," and is unable to exact his "pound of flesh."

"At the end Shylock is not broken but he's left to suffer, leaving a kind of loose end," Jacob said. "But to make this a comedy, Shylock is generally portrayed as a melodramatic villain."

Throughout, though, the play uses several comedic plot devices including how Portia chooses which suitor to wed and how Bassanio gives away Portia's ring during the trial to the "judge," who happens to be Portia.

"Besides Shylock and the trial, there's lots to enjoy here," Jacob explained. "The allusions of love, the mistaken identities and the buffoonery."

Behind the scenes

Technical director Matt Gorris said his staging will show two worlds: the harsh work-a-day hustle and bustle of Venice and its commerce, and the soft romantic fantasy world of Belmont.

"We will use one giant set to show off these different worlds," Gorris said while on site helping paint and construct the scenery. "There's the more beautiful, more colorful ritzier side of town where everything is perfect, and then there's the more realistic, uneasy fast-paced Venice of shipping and business.

"And rather than set it in a definite time in history, we're using a more timeless design, where one can sense the same decor and color scheme used 400 years ago or 20 years ago."

Tapping into that timelessness, Jacob will enhance the mood of specific scenes and actions by playing pop hits of the 1950s and '60s including the Dixie Cups' "Chapel of Love," the Lovin' Spoonful's "Summer In the City" and the Mermaids' "Popsicles and Icicles."

And presenting a play outdoors - the same way Shakespeare's were at the Globe more than 400 years ago - using all volunteers from the community presents problems of its own.

"We've got a good blend of veterans, newcomers, experienced actors and neophytes, teachers, high school and college students and people from the community," Jacob said. "They are hard-working and get along like family. And everyone has the problem of juggling schedules, school, jobs and commitments, but they're all having a ball while doing it."

Gorris said summer weather's vagaries can present more problems.

"You have to build sets that can withstand wind, rain, humidity and heat, and build certain pieces that can be easily taken down and protected," he said. "And then there's the bugs. Last year it was mosquitoes and this year it seems to be ticks, but we accept that when working outside."

Staggs added that in the dozen years he's worked on summer Shakespeare the outdoor distractions eventually go away.

"It's a joy to get out there on stage," he said. "That's why I come back every year."

Eric Feber, 222-5203, eric.feber@pilotonline.com