Merchant of Venice, The

Despite a disappointing opening production and serious problems with ailing artists’ requiring replacement, Antoni Cimolino’s first season as Stratford’s Artistic Director has been one of the strongest and most impressive in this great theater center’s history. Having earlier directed a landmark-wonderful revival of Schiller’s Mary Stuart during the opening week, Cimolino ended this season’s new productions with an absolutely splendid revival of William Shakespeare’s The Merchant of Venice– smartly designed and lighted and beautifully performed.

Staff and audience members were and are worried about Stratford’s great and beloved actor/director Brian Bedford, whose illness required him to leave the role of Shylock in this production. But director Cimolino quoted Bedford’s comment that the choice of veteran actor Scott Wentworth is “inspired”; and Wentworth – already recipient of nothing but critical raves for his Tevya in this season’s Fiddler on the Roof – is also certainly brilliant as Shylock, an overwhelmingly contrasting, classic Jewish role. I’m tempted to jokingly lament that he couldn’t also play Fagin in Oliver! this summer and own the whole category.

But Shakespeare’s challenging and beautiful play is far too complex to be dominated by even that one great character. It is also a story of a remarkable, brilliant and beautiful woman, Portia, whose choice from several courtships offers cherished and beloved commentary on the nature of romantic love. And it is Portia’s voice that articulates the play’s enduring insights into justice and “the quality of mercy.”

Then there are the plots and subplots indicated by the title: From Antonio and his friends we learn much about commerce and its values and morality, as well as another love – that of friendship and obligation. But Shylock, though a formidable opponent and a cruel and stingy man, is also an understandably furious victim of lifelong persecution. We see him mocked and persecuted for what he loves: his Jewish friends, his religion, his daughter, and his hard-earned wealth and comforts – all of which he eloquently defends, and each of which he is forced to lose at the joyful conclusion celebrated by Portia’s and Antonio’s friends. And don’t we celebrate his losses also?

Antoni Cimolino’s subtly masterful direction perfectly balances Merchant’s many themes and elements. The large cast is full of fine actors able to give the varied roles full value. Newcomer Antoine Yared, for instance, flounces through the Prince of Arragon’s trial for the hand of Portia and, rejected, makes such a grand, haughty departure that he wins loud laughter and applause on his exit. Tyrell Crews, another actor making his Stratford debut, is more touching than most I’ve seen as Bassanio, Antonio’s indebted young friend; and he’s more impish as well as affectionate as Portia’s lover.

Jonathan Goad, a strong leading man, is here very funny as Bassanio’s unruly friend Gratiano, and playfully amorous as lover to Nerissa, Portia’s maid. Tyrone Savage is a sensitive, handsome young Lorenzo, Bassanio’s friend and trustworthy suitor to Shylock’s rebellious daughter, Jessica.