Tag Archives: Bill Alexander

A Merchant of Venice

A Merchant of Venice

★½

Playground Theatre

A Merchant of Venice

A Merchant of Venice

The Playground Theatre

Reviewed – 15th November 2021

★½

 

“Alexander’s interpretation has only served to shine a brighter light on the problems of this story, resolving none of them”

 

At its best, Shakespeare’s The Merchant of Venice is wildly problematic. But, being so iconic, so confounding and complex, we just can’t simply do away with it. As with so much of Shakespeare, the prose has become idiomatic, and speeches such as Shylock’s heart-crushing, “If you prick us, do we not bleed” could no more be discarded than Hamlet’s “To be or not to be” or Mercucio’s “A curse on both your houses.” But! Be all that as it may, the play remains problematic.

‘Shakespeare in Italy’’s A Merchant in Venice promises a modern take on the old script, cutting the cast and focusing on only six characters and their relationships with one and other, wrestling with “Justice and Mercy, Marriage and Money, Race and Class” and “the tortured nature of love.” A modern take is exactly what this play needs, magnifying the complexities and drawing them out, and throwing away anything that no longer resonates with a contemporary audience. Unfortunately, adaptor and director Bill Alexander has completely wasted this opportunity.

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The main thrust of the story is that a rich Venetian, Antonio (John McAndrew), guarantors a loan for his friend Bassanio (Alexander Knox) with moneylender Shylock (Peter Tate), affectionately termed “The Jew” for most of the play. Antonio being his longstanding enemy, Shylock only agrees to the loan on the term that should Antonio fail to repay the loan by its due date, Shylock should be entitled to a pound of Antonio’s flesh. When terrible misfortune causes Antonio to lose all his money, Shylock comes knocking.

With the loss of smaller parts, the remaining characters must carry their burden too. Portia (Lena Robin), for example is left to fend alone in her introductory speech, where once her handmaiden Nerissa would have made it a conversation. Rather than a witty back-and-forth regarding her ridiculous suitors, we’re left with a long, glib ramble, superficially improved by the use of a mobile phone prop in a poor attempt to modernise.

The script has been cut, and in some places, I believe actually rewritten. If you’re going to edit Shakespeare, do so boldly. Instead, the general semi-opacity of Shakespearian English remains, but much of the poeticism is lost. This might also be blamed on the delivery though, so I can’t put it all on the edit. I wasn’t sitting with a script on my lap, so I don’t know for certain what was cut and what wasn’t, only that, perhaps in an attempt to lighten the play’s hefty discussion of endemic racism, the plot has been simplified to goodies and baddies, the Venetians being the goodies, and “The Jew” the baddie. Which ironically makes for a far less modern discussion than is allowed in the unabridged version.

I did briefly wonder whether perhaps I was simply too sensitive to the play’s anti-Semitism, given that Shakespeare was around a pretty long time ago. But, seeing the CLF Art Café’s 2019 production I recall vividly that, despite the confusingly ‘happy’ ending (resolved only by lopping it off and ending with the scene prior), they had done well to flesh out the nuances of the tensions between Antonio and Shylock, highlighting Shylock’s humanity, and the causes of his great bitterness. So, it is absolutely possible to leave this play without feeling somehow complicit.

In a way, the production’s lacklustre design- mostly black costumes and some fold-out chairs- and thoughtless stage set-up- a thrust stage, forcing the performers to show their back to much of the audience when giving their boldest speeches- simplifies things. You’re not missing anything.

The only positive note is that Alex Wilson’s Gratiano, is quite wonderful. His character is rich and complicated, playing the bully and obsequious friend to a tee, despite having very little to work with from the rest of the cast.

Obviously, a lot of people worked hard on this production, and I don’t suggest anyone had deviant or malicious intentions. But it is very much the case that Alexander’s interpretation has only served to shine a brighter light on the problems of this story, resolving none of them. To a large extent it’s a poisoned chalice to begin with. Best leave it alone and pick a less controversial number, like Othello.

 

Reviewed by Miriam Sallon

Photography by Guy Bell

 


A Merchant of Venice

The Playground Theatre until 4th December

 

Also reviewed at this venue this year:
Ida Rubinstein: The Final Act | ★★ | September 2021

 

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The Snowman

★★★★

Peacock Theatre

The Snowman

The Snowman

Peacock Theatre

Reviewed – 23rd November 2019

★★★★

 

“a visual feast for young and old eyes alike”

 

The Snowman, based on Raymond Briggs’ award winning children’s book, is brought to the stage by composer Howard Blake, director Bill Alexander and choreographer Robert North for its annual visit at the Peacock Theatre in London’s West End. It’s a perennial favourite among children and their parents “at the most magical time of the year,” and it’s easy to see why. Blake’s music, including the hit song “Walking in the Air” (sung by Aled Jones), plus North’s choreography—with Alexander’s direction tying it all together—makes The Snowman one of those rare shows that can hold the attention of the primary school set and their younger siblings. It also helps that this show, like the book, has no words. The Birmingham Repertory Theatre’s production of The Snowman is a visual feast for young and old eyes alike.

That said, this production has a rather different look from the drawings in the book, although designer Ruari Murchison finds ways to portray the eponymous hero and the young boy who creates and befriends him that are recognisable enough. And it’s hard to find fault with the design for the myriad of other creatures not in the book, who come to join the Snowman and his friends on stage. The never ending array of toys, fruit, and adorable animals that come to life and dance in their unwieldy costumes is something the child in all of us can appreciate. The talented dancers, led by dance captain Antony Edwards, bring off the difficult combination of comedy and grace in their performances, to the delight of their young audience. The set uses the space at the Peacock cleverly and efficiently, given that a lot of room has to be created for the dancers (and for flying the Snowman and the Boy). The small but effective band, under the musical direction of Costas Fotopoulos, creates a lively sound that is loud enough to overcome the constant murmuring of adults and kids commenting on the action, but not so loud that an audience with sensitive ears could object.

The elements of the story in The Snowman are familiar to anyone who loves folk tales. It has some things in common with The Nutcracker, which may be the reason it was adapted into a seasonal show. But The Snowman is a much simpler tale—perfectly designed for a younger audience that may not be quite ready for the complexities of Clara and her world in The Nutcracker. In short, Boy creates a Magical Snowman which he then introduces to the commonplace items of his world, such as clothing, toys, and food. But through the Snowman’s magic these items also become magical, and the boy’s world is transformed, culminating in a fantastic flight to the Snowman’s world where the roles are reversed. Now it is the Boy who becomes the magical figure transforming the world of the Snowmen and their friends. Add in the rescue of the Snow Princess from the evil Jack Frost, and all is ready for a happy celebration before the Boy returns home. Was his journey just a dream? But he still has the scarf that Father Christmas gave him, so of course it must be true.

If there is one criticism to be made of this show, it is that it runs a hundred minutes with an interval. That is a long time for very young children to manage, and there were predictable meltdowns towards the end of the second half. But for the most part, the audience was entranced by the music and dancing, and loved opportunities for waving at the Snowman and the Boy as they flew across the stage. So if panto is not your thing, and you are searching for a seasonal substitute to take your young friends and family to, why not introduce them to The Snowman?

 

Reviewed by Dominica Plummer

Photography by Tristram Kenton

 


The Snowman

Peacock Theatre until 5th January 2019

 

Previously reviewed at this venue:
Cirque Berserk! | ★★★★ | February 2018
The Snowman | ★★★★★ | November 2018
Tango Fire | ★★★★ | January 2019
Hotel | ★★★★ | February 2019
Yamato – Passion | ★★★★★ | March 2019
Beats On Pointe | ★★★ | May 2019
Some Like It Hip Hop | ★★★★★ | October 2019

 

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