Venice Revisited

I had the pleasure of attending ‘Venice Revisted’, a new musical written by Richard Elgood and Richard Watson, which was in effect a reworking, updated in some respects, of The Merchant of Venice, by William Shakespeare. Briefly, Shakespeare’s version involves Antonio, an antisemitic merchant, who takes a loan from the Jew Shylock to help his friend to court Portia. Antonio can't repay the loan, and without mercy, Shylock demands a pound of his flesh. The heiress Portia, dresses as a lawyer and saves Antonio. In this reworking, the story is retold but we are invited to feel a greater level of pity for Shylock in his chance to redeem himself. We are also reminded of the grubby trade background of Venice.

The fixed well- built and painted set was impressive, mainly consisting of 6 archways, 4 central and one on either side of the stage, in one of which the piano was located behind a low fence. Centre stage stood a raised coffin. When the scenes switched from Belmont to Venice and vice versa, one side (2 arches) was cleverly folded back and forth to recreate the set for each location. Throughout, the music written and played by Richard Watson on piano was excellent and at times haunting, befitting the piece. The costumes were excellent, well fitted and well carried by the cast.

The story is linked together by La Zingara, played with great clarity and strength by Sandy MacNeill who also demonstrated an excellent voice in Act 2 with ‘A Father’s Bond Of Blood’. The ensemble of lawyers made their mark singing ‘Letter Of the Law’ with conviction and we soon learn that the coffin did not contain Portia’s real father, as she thought, but another. This scene was handled well by her mother Leah played by Jacky Bedford and her Grandmother played by Stephanie Piggott.

Portia was played by Michelle Cooper and maintained a great often bright personality throughout, full of feeling as well as some expressive singing, not only with Nerissa, well played by Lauren Crouch, (especially ‘Just Like Men’) but later with Bassanio (Andy Doyle) who had to overcome all manner of problems to eventually win his bride. Andy fulfils the role with great strength and poise and when looses all his money is forced to seek a loan from Antonio sympathetically played by Tony Hearn. This has to be facilitated via Shylock who agrees to the loan, although for failure to repay it, he would literally seek a ‘pound of flesh’ from Antonio. Brian Jackson as Shylock provided an excellent characterisation, initially the villain, but latterly a more understanding human being and his final speech in Act 2 was moving.

Shylocks daughter Jessica played by Stacey Thornhill yearns for a husband  and has an eye for Lorenzo played by Tudor Smoleanu, and both fulfil their respective characters very well, the latter often with great energy. In-fact there was no weak link amongst the principals with Maurice Thompson (Lawyer / Duke) and  Steve Doidge (Gratiano) providing full support, together with a busy ensemble. I felt throughout, the dialogue was taken at just the right pace in a style that was meaningful and credit must be due to the writing of Richard Elgood. Full of admiration, I conclude this new production deserves to be experienced more widely.

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