The Merchant of Venice by William Shakespeare
Directed by Stuart Draper
Auditions: 12th, 13th & 14th June, 2011
Performances: Tuesday 4th to Saturday 8th October, 2011, Bell Theatre
CHOICES... CHOICES... CHOICES...
If it could save their life, you would willingly let your lover marry another. Wouldn’t you? That would be your choice. Yes? If it were a choice between marriage and death, you would choose marriage. Wouldn’t you? Wouldn’t you?
“Some choices we live not only once but a thousand times over, remembering them for the rest of our lives.”
Venice, 1941. The Nazis occupy Venice. War rages across Europe.
On the borders of the Cannaregio, the district of San Polo is home to Prospero’s Revue Bar, run by ‘Madame’ Gratiano. Lorenzo, a young music student, plays the piano there for tips, stealing out in his break to meet his intended, the dusky Rebecca. Antonio and his business colleagues Salerio and Solanio are regulars, rubbing shoulders with the rag-taggle flotsam and jetsam washed up along the ancient city’s waterways: sailors, gun runners, prostitutes and transvestites rub shoulders with businessman out for titillation. Antonio has a choice – to allow his world to marry another and live, or to cling to the life raft and go down with the ship.
The heiress Portia has been left a dilemma by the recent death of her father: either she chooses to marry according to the rules of an archaic lottery, or lose her inheritance and perhaps even her life. Tish, tish. Her maid, Nerissa, runs the household rather well... What need has she of a husband?
Young buck Bassanio is down on his luck. A professional card shark and gambler, he is about to take the biggest choice of his young life. If he pulls it off, he will soon be married, rich and, more importantly, alive.
The usurer Shylock peeps nervously from his home in the Cannaregio. Amidst rumours of mass deportations and whole families vanishing, Shylock watches over his only daughter and prays to Abraham for fortitude, wishing his wife were still alive... but silently thankful she does not have to witness the horrors unfolding around him. He can choose to keep the canary caged by his side and surely die... or fly the nest and live... but what of his tribe? Choices, choices, choices.
And amidst the carnage of war, the gypsy Old Gobbo seeks out his last remaining son, Lancelot, to warn him that working for a Jew in these times might not be the most sensible of choices...
There are always two choices. Two paths to take. One is easy. And its only reward is that it's easy.
About the production
I have been mulling this show over in my mind for many years. Over the time it has taken slightly different directions, but the soul of it has always been the love of Antonio for Bassanio – the love of a man who is willing to quite literally give his heart for the one he loves. So in this production, there is no ‘was he, wasn’t he.’ He was, he is, and that it is it.
Set against the horrors of the impending Holocaust, the show revolves mainly around the Revue Bar that Gratiano and his cohort call home.
The role (male) of Gratiano is elevated to that of guide and narrator. So is that of Solanio, a lesbian singer of the soul. The show will be punctuated by Berlin Cabaret songs from the 1920s and 30s sung by Gratiano and his revue girlz and boyz. From Hollaender’s haunting ‘Sex Appeal’ though Dietrech’s seminal ‘Boys in the Backroom’ to Billing and Spoliansky’s prophetic ‘The Lavender Song’ the songs will comment on and illuminate the action, with the Torch Singers ever present. This makes both these parts ‘to die for’... (literally). Big frocks, big production numbers, lots of schmaltz. Tits and teeth, sweeties, tits and teeth, oh and cigarette holders.
Playing ages are approximate and much will depend on the mix (for example, the age of Shylock will depend on the age of Jessica!).
With regards to Shylock I have strong views. I do not believe Shakespeare was anti-Semitic. I do believe he gives a voice to the Jew and as ever with the Bard, a brief insight into the man’s psyche. He also shows Shylock as a greedy usurer who would wish his daughter dead for the return of his ‘jewels.’ He also shows Antonio, a Christian, as a man who spat on another because of his race, a man who would take away another’s faith, knowing how important his own is to him. Shakespeare is not saying ‘Here is a Jew. This is what they are like. Here is a Christian. This is what Christians do,’ because Shakespeare didn’t really write like that. What he is offering us instead is the portraits of two men who are flawed, who bleed when pricked, who love when allowed and who are one hundred per cent flesh and blood human. And that makes for good drama. Clever, innit? I would like Shylock to have a Jewish accent – but if this is not possible without resorting to a gross caricature then no accent will be used.
Most of the characters in the show will be those that Hitler sought to annihilate. Jews, Homosexuals, Lesbians, the disabled, gypsies, Sinti, and criminals.
Voices and choices
There will be a choral ensemble in the show, but being able to sing is not a requirement and will not be part of the audition.
Audition pieces will be made available nearer the time (!) and those auditioning are advised to familiarise themselves with the text as much as possible, as I will be looking for interaction between actors as well as the quality of verse speaking. But take it as read that the most famous soliloquies will be in there: Portia’s ‘Quality of mercy,’ Shylock’s ‘Prick us’ and Antonio’s ‘Whether Bassanio had not once a love.’
I am intending to start rehearsals a couple of weeks early as I like to sit round the table and get to grips with the text (so the actor knows it is not pierced but pierce-ed etc etc) and to make sure everyone understands what they are saying. So rehearsals start early August 2011.
Cast – ages given are playing ages
The Duke of Venice – 40+. A nice cameo, a puppet of the Nazis. Could be doubled.
The Prince of Morocco – any age over 21. Arabic prince. If done tastefully could be doubled with Arragon. COMEDY
The Prince of Arragon – Very strong impenetrable Spanish accent. Arrogant bull fighter who struts. 21+ COMEDY
Antonio - a merchant of Venice (30s to 40s)
Bassanio – his very best friend (18 to 30)
Gratiano – a drag queen, friend to Antonio, owner of Prospero’s Revue Bar. Must be able to sing. 24+ Very funny part. Show-stopping moments. Has to be OUTRAGEOUSLY camp and funny.
Solanio – she is a torch singer in the Revue Bar. 24- 60. Must be able to sing, very well indeed.
Salerio – the lover of Solanio, 24 – 60. Wheelchair-bound.
Lorenzo – young music student (20-28) in love with
Jessica – daughter to Shylock (18 – 25)
Shylock – father to Jessica, a Usurer. 45+ depending on age of Jessica
Tubal – a friend of Shylock, of his tribe
Old Gobbo – COMEDY CHARACTER A gypsy, 60+, father of
Lancelot – Servant to Shylock COMEDY CHARACTER
Leonardo, servant to Bassanio (could be from youth group)
Balthazar – servant to Portia (could be from youth group)
Stephanie – servant to Portia (female) (could be from youth group)
Portia – A Lady of Belmont (30 – 50!) Powerful, strong willed, able to play comedy, all ‘jolly hockey sticks’ one moment, grave and profound the next.
Nerissa – her ‘waiting’ maid... (30 to 50). She knows everything, she is the corner stone on which Portia’s house in Belmont is built. There is much room for comedy, especially the scenes with Gratiano.
Also need Jewish Children of the Cannaregio, their mothers, Nazi guards, Magnificoes of Venice, officers of the Court of Justice, a gaoler, servants and other attendants.
Please note that although anyone may audition for a show at the South London Theatre, if cast you must be (or become) a member of the club. Proof of membership will be required at the first rehearsal. Membership information can be found here
For more details, please contact Stuart Draper, Director
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