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The Merchant of Venice

Published Monday 22 September 2008 at 10:35 by Natalie Anglesey

It’s all about money and power. Amid the media feeding frenzy over the global financial crisis, a new production of Shakespeare’s classic could not be more pertinent. Mark Babych’s sterling production, set in the Venice of today, benefits from Tom Scutt’s ominous, slate-grey, chequered design evoking the rain-washed streets of the city.

Mobile phones ring, texts are received and sent as the money men in suits barter their holdings and their lives. David Fielder’s Shylock is one of the best I’ve seen and his pent-up fury and lust for revenge is almost understandable when his daughter, his late wife’s jewellery, his servant and his dignity disappear overnight.

Wyllie Longmore is a dignified Antonio, while Paul Barnhill’s Bassanio speaks the text with a rich delivery - although there’s little sexual chemistry between him and Emily Pithon’s Portia. Playing initially for comedy, more Rosalind than Portia, she brushes aside the obstacle of the famous ‘quality of mercy’ speech and seemed more relaxed in the final scene.

Jenny Platt makes a mark as Nerissa, more good companion that servant, although both women were hampered by poor wigs when disguised as men.

Catherine Kinsellsa has a wonderful stillness as Shylock’s guilt-ridden daughter Jessica and Paul Simpson’s Launcelot Gobbo is a typical cheeky chappie. Proving that there’s no such thing as a small role, David Hobbs plays at least five roles with conviction.

A terrific start to the Octagon’s new season.

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