Complex Issues in ‘Merchant’ Handled Well at Theatricum

Is Shakespeare’s always-controversial “The Merchant of Venice” an anti-Semitic play, a play about anti-Semitism, or a play that features characters who happen to be anti-Semites, but is really about something else entirely?

Probably a little of all of those things. But if you’re even contemplating attending a performance of “Merchant of Venice”--in which Shylock, the scorned and vengeful Jewish moneylender, demands the infamous “pound of flesh” from his Christian debtor--you’re probably already past expecting political correctness in the 16th century.

During the opening matinee performance of “Merchant” at rustic outdoor Will Geer Theatricum Botanicum in Topanga Canyon, three white doves showed up, and spent the second act cozied together in the big tree that spreads its branches over the stage. Let’s take that as a sign that this “Merchant” comes in peace--presented in spite of, not because of, the repugnant attitudes of the day.

Whew, that’s out of the way. Now the only question becomes, is this production of “The Merchant of Venice” a good production of “The Merchant of Venice”?

The answer is: a very good production indeed.

This play--with its weird blend of exquisitely beautiful commentary on tolerance in the monologues of Shylock, ugly racist cant on the part of most everybody else, and broad romantic comedy based on mistaken identity--will always be problematic. Still, as directed by Botanicum artistic director Ellen Geer, this “Merchant” is zesty, fast-paced, conversational and clear as a bell.

Clear, that is, except for Jeff Marlowe as the hilariously fey Prince of Arragon, failed suitor to the lovely Portia, whose accent lies somewhere between Spain and outer space. While the actor is a hoot, rolling his rrrrrrrr’s up to the stratosphere, he’d be even funnier if we could understand more than 50% of what he’s saying.

Other performances are equally strong--and easier to understand.

Alan Blumenfeld makes for a sympathetic Shylock, his imposing stockiness and stentorian voice an effective contrast to this character’s powerlessness within his own society. Susan Angelo is a glowing comic standout as the vain and world-weary Portia, as is Edward (Ted) Barton as Shylock’s gnome-like servant, Lancelot Gobbo, covered in false humility and a thin layer of dirt.

Director Geer’s only moment of dramatic editorializing comes at the end, when she adds a silent sequence in which Shylock, after being forced by the court to convert to Christianity, returns home and lights Shabbat candles alone, in secret defiance. An interesting twist, but one that jarringly diverts one’s attention from Shakespeare’s exploration of the quality of mercy in the 1500s to the politics of diversity, 2002.

“The Merchant of Venice,” Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Sundays, 4 p.m. Ends Sept. 29. $14-$22; children 7-13, $8; under 6, free. (310) 455-3723. Running time: 2 hours, 10 minutes.