URI Theatre's production of 'The Merchant of Venice' is a delightful deal for audiences

04/17/09 - In a climate of intense social prejudice, Shakespeare's "The Merchant of Venice" illustrates the clash of Jewish and Christian beliefs during the Italian Renaissance, while still leaving room for romance. Although the original play was comedic in nature, professor Bryna Wortman's direction inspired a serious take- but the cast and crew nonetheless managed to keep things humorous.

The performances of the University of Rhode Island Theatre Department's cast really made the poetry of the lines sing. Shakespeare's "The Merchant of Venice" intertwines dual plot lines of love and marriage with pointed sentiments about the anti-Semitism that was present during the age. The first plot line unfolds as Shylock's (Benjamin Gracia) generosity to Christian comrade Antonio (Vincent Petronio) proves to be unfulfilling. This leads into the explanation of Antonio's motivation to borrow enough money to help longtime friend Bassanio (Benjamin M.S. Grills), who desperately wanted to impress Portia, the beautiful, educated and wealthy heiress of Belmont.

But before Bassiano came along, many suitors from far and wide had come to Venice in the hopes of winning over Portia. Now, this may not measure up to the parades and hoopla afforded by the princes in "Aladdin," but there were caskets in "The Merchant of Venice," oh there were caskets! The Prince of Morocco (Carlos Campell) and Prince of Arragon (Jesse Dufault), although earnest in their pursuits, failed to pick the correct casket.

The Prince of Arragon, however, may have done one better than the Prince of Morocco. Prince Arragon had moves. His servant had moves, too. The swagger was comically distinctive; he was fussy and dramatic, and couldn't bear to do small tasks for himself--typical aristocrat.

Before long, Shylock is fed up with Antonio, a Christian, who proves to be less reliable with paying his dues. As the merchant of Venice, Antonio's guarantee on credit with Shylock was based on his ships arriving in the port. The ships became lost at sea. Unfortunately, Shylock's late charge isn't like Blockbuster's- it's a pound of flesh. His daughter Jessica, takes Shylock's valuables, elopes with Christian Lorenzo, and converts to Christianity, which breaks her father's heart. Antonio is brought to trial and Portia and her servant Nerissa must come to the rescue.

Aside from great performances and character interaction, no play is complete without stellar contributions from the costume and scenic departments. The costumes were made with rich-looking, luxurious fabrics that were vibrant and distinctive. Scenic constructions were painted lavishly and had realistic dimensions and included a revolving middle stage, which added convenience and accessibility. Lighting was captivating especially in the closing scenes where a forestlike, dreamy state was created with speckled lighting.

The well-crafted technical aspects of "The Merchant of Venice" only served to enhance the storyline. Toward the closing scenes, love conquered all, resolutions were met and racial prejudices were addressed in an overall manner that left audiences the wiser.

It is safe to say, with standing ovation, that audiences cannot only count on "The Merchant of Venice," they can bank on it.