June 18, 2009
Propeller admire Shakespeare for covering such a breadth of human experience. They're certainly not afraid of tackling some of the darker issues, and the anti-semitism in their new production of Merchant of Venice comes through with Propeller's customary vigour. So does Shylock's anti-Christian response. I'm still feeling a bit traumatised now.
Rather than soften the text to make it palatable, they've chosen to contextualise the prejudices so they make sense. Venice is now a prison. It suddenly becomes plausible that people stay in this poisonous environment - they have to. The violence, brutality and gang mentality are credible.
This production is every bit as good as A Midsummer Night's Dream, but it is grittier. I've never before seen or read Merchant of Venice, and for me Antonio's fate was very much in doubt; the play's end exciting and unpredictable in a way Shakespeare rarely is.
Portia and Nerissa are brilliant, providing some relief from the harsh antagonism, though even they give their suitors a hard time. Shylock seemed both author and victim of his fate. The applicants for Portia's hand brought welcome humour, turning from shadowy bit parts to memorable characters. With the combination of small cast, doubling parts, an active and ever-present chorus and running 2 plays concurrently, Propeller work their actors hard. They are shape-shifting all the time. How on earth do they then portray such rounded and well-defined characters?
We tried to ask about this in the post-show discussion, but unusually ran out of time before running out of questions! We did get a sense of how unusual Propeller is in the business, being egalitarian in both pay and directorial input, with current members always invited back (you have to sack yourself..) and all cast present at all rehearsals so everyone knows the whole play inside out and has helped to shape it. The strengths of working like this are clear not only in how generously they replied to audience questions, but also in the productions themselves.
I have no hesitation in recommending this performance. It's not pretty, wafty Shakespeare, but something much more substantial and gripping. Expect to be moved.
Rather than soften the text to make it palatable, they've chosen to contextualise the prejudices so they make sense. Venice is now a prison. It suddenly becomes plausible that people stay in this poisonous environment - they have to. The violence, brutality and gang mentality are credible.
This production is every bit as good as A Midsummer Night's Dream, but it is grittier. I've never before seen or read Merchant of Venice, and for me Antonio's fate was very much in doubt; the play's end exciting and unpredictable in a way Shakespeare rarely is.
Portia and Nerissa are brilliant, providing some relief from the harsh antagonism, though even they give their suitors a hard time. Shylock seemed both author and victim of his fate. The applicants for Portia's hand brought welcome humour, turning from shadowy bit parts to memorable characters. With the combination of small cast, doubling parts, an active and ever-present chorus and running 2 plays concurrently, Propeller work their actors hard. They are shape-shifting all the time. How on earth do they then portray such rounded and well-defined characters?
We tried to ask about this in the post-show discussion, but unusually ran out of time before running out of questions! We did get a sense of how unusual Propeller is in the business, being egalitarian in both pay and directorial input, with current members always invited back (you have to sack yourself..) and all cast present at all rehearsals so everyone knows the whole play inside out and has helped to shape it. The strengths of working like this are clear not only in how generously they replied to audience questions, but also in the productions themselves.
I have no hesitation in recommending this performance. It's not pretty, wafty Shakespeare, but something much more substantial and gripping. Expect to be moved.