The Merchant 'A Banker's Dilemma'

An entry for the RSC Open Stages and the re-working of ‘The Merchant of Venice’ in a contemporary form as ‘The Merchant – a Banker’s Dilemma’; a most creative and innovative re-look at the play in an adaptation by Tom Nash, so very clever in style and words both timeless from the original and also modern, a beautiful blend of dialogue and situation, and, quite astonishingly, how appropriate for the current period and state of the world, congratulations are due to all who interpreted and realised this production. (Especially in the rain-swept transfer to the church rather than in the open air).
London and Cambridge, the City Bankers and the Oil Moguls and the Fashionable dilettantes plus men-about town and the Rich and the Scholars: what a scenario for the Narrator (very clear and versatile) Geoff Gildersleeve to put before us and to reveal and link the story lines. Liked the humour and relaxing of tension from interludes with the Flower Girl (Sally Elvin); and the friendships and link scenes dialogue retained (from original) from friends Sal and Sol (Heather Carpenter and Kathy Matsell). As Anthony, an oil businessman with major problems of the Gulf of Mexico blow-out and Nigerian politics, Malcolm Robertshaw came over with the dignity required throughout the problems and his likely bankcruptcy and contract trials, and yet showing the love and friendship throughout to young Benjamin. Guy Mallett, as Benjamin the young architect and lover, seemed ideal in the role with age and presence and clear dialogue and feelings all well portrayed; and his friend Lawrence (Jordan Webb) was supportive throughout and a worthy abductor and lover of the delightful young Jessica (Ellie Hupton), very credible in the relationship. From Cambridge we had style and true excellence of delivery and emotions in the Portia of Meryl Anderson, what a performance to appreciate and include with enjoyment that ‘most known ‘quality of mercy’ speech’, plus the conflict of feelings and self-argument during the suitors’ caskets sequence, but displaying the lightness and love to her Benjamin. Throughout, she was very well supported by companion Nerissa (Susie Jowett), and her relationship with another of Benjamin’s friends and supporters Graham (John Halfacre). And hard and immoveable as the surrounding flint and granite of the church, standing solidly alone in his defiance of compassion or of flexibility in a hard business world, the tones with gravitas and timbre and the dictatorial determination to destroy, David Dowson as City Banker Mr Fortescue-Blyth dominated the stage and the action despite standing so seemingly calmly, what a role to realise with such style in his city pin-striped suit. And that trial sequence just built the tension and we worried for the outcome with contracts and cooling off and take-overs and bankcruptcies and city jargon, but the Judge played by Ian McNamara from the pulpit held sway and authority and justice reigned to give the correct and hoped-for conclusion. Good to see inclusion of dance and music into the action as with the original. (You see that I was prompted to re-read my Shakespeare version as well as story in Lamb’s Tales!).
I just hope that your effort is taken forward by the Wolsey Theatre into the next stages of the project RSC Open Stages as this production was very worthy of recognition and all are to be congratulated.

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