The Merchant of Venice has been a problem play for a number of years. The portrayal of Jews becomes problematic as times have changed since Shakespeare wrote the play in the late 1500s. The question of whether or not this play is anti-Semitic has been asked time and time again. And why is such a dark play categorized as a comedy? It is important to remember that a comedy doesn’t equal a light-hearted romantic romp that ends with marriages and laughs. While this generally occurs, the real meaning of comedy, in the Greek sense, is that the story ends well for the protagonists. In relation to Shakespeare, I usually take this to mean that no one in the play dies. Therefore, Merchant is a comedy. But even though we get the three weddings in the end, there is the matter of Shylock and what today is understood as the tragedy that happens to him.
Shylock is not a simple character, nor is how to play him obvious. There were no Jews in England during Shakespeare’s time (it was not until 1830 that the first bill extending equal rights to Jews in England was presented to Parliament, a bill that was not passed until 1858). The character of Shylock was played comically over-the-top until 1741 when he became a villain. It wasn’t until 1817 that the character was given a more human interpretation as a pitiable man whose life is a tragedy. So what (or who) is Shylock? Is he a villain or is he a victim? Or is he both? The language used by Shakespeare in this play is so ambiguous and so full of alternative meanings that almost any interpretation can be valid. But in focusing on how Shylock and the Jews of The Merchant of Venice are portrayed, it can be easy to overlook the faults of the other characters.
Indeed, every character in this play is flawed. Deeply. Listen to what they are saying and you will find a lack of virtue: Portia preaching about the importance of mercy and then not giving any to Shylock, Bassanio deciding to go to Belmont in pursuit of Portia’s hand because her wealth can pay off his debts and because she is beautiful, and Antonio presenting himself as a virtuous Christian who nevertheless says and does the worst things to Jews.
Our production hopes to show the characters for what they are: human and flawed. Shylock is both victim of circumstance and villain through his dedication to the rendering of his bond. Portia believes she is doing what is right, but is also selfish and a master of expediency, as she is willing to do whatever is necessary to get what she wants. Every one of them has ulterior motives and whether they realize it or not everyone (including Shylock) is, to put it succinctly, imperfect.
–Rachel Lavenda, November 2007