‘Merchant of Venice’ Offers Relevance, Fine Performances

Shakespeare Orange County’s splendid Renaissance-period staging of “The Merchant of Venice,” which opened Friday at Chapman University’s Waltmar Theatre in Orange, begins and ends on the same line, as though the play is contained in brackets.

They are a directorial invention--Shakespeare did not write “Merchant” that way--but Thomas F. Bradac’s device is rich and evocative; it reveals the hand of a director whose hallmark has always been to probe the atmosphere of the plays, clarifying what Shakespeare may have intended without exploding their traditional context.

As written, “Merchant” begins with Antonio’s entrance line. “In sooth, I know not why I am so sad,” this Christian paragon of Venetian society says to friends as they walk in the street. “It wearies me,” he continues, “you say it wearies you; / But how I caught it, found it, or came by it, / What stuff ‘tis made of, whereof it is born, / I am to learn.”

After “Merchant” has unfolded with tragic consequences for Antonio’s nemesis, the Jewish moneylender Shylock, and all has been resolved, Bradac puts Antonio in a spotlight on the darkened stage to sum up. Antonio turns to the audience and, notwithstanding everything he has seen and heard, says again: “In sooth, I know not why I am so sad.”

This brief confession, presented as Antonio’s elegiac exit line, taps into a larger theme. It ought to be clear to us, if not to Antonio, what’s behind his sadness: a corrupt social system rank with hypocrisy. Wealthy Venice pays lip service to the values of mercy and justice but cleaves, in fact, to racism and religious intolerance.

Bradac’s interpretation of “Merchant” also underscores the play’s relevance for a contemporary audience throughout, not just with brackets. Full-bodied performances and a resplendent Renaissance design lend immediacy as well as historical perspective, bringing the production to life far better in its proper period than if it had been updated.

Neil Vipond leads the way as Shylock in a searing, vigorous, unsentimental performance that is as good as it gets. Shylock’s animus toward Antonio may be more than justified, as played, but it’s not pretty.

Jenna Cole offers a mature Portia, acerbic but generous in comic relief (when pursued by ridiculous suitors), though more persuasive in serious male disguise as the judicial scholar. Carl Reggiardo is a dignified Antonio, played with fine restraint. As his best friend, Bassanio, who marries Portia, Donald Sage Mackay is personable and vibrant.

Also notable in a large company are Mark Coyan for his entertaining verve as Launcelot Gobbo, Michael Nehring for his comic energy as Gratiano and Beth Kellermann for her quiet sincerity as Nerissa.

If the casting has any flaw, it is the age discrepancies among the leads. Mackay seems a bit young for Cole, who, it must be said, is a bit old for Portia. Reggiardo too seems a bit old to be Bassanio’s bosom buddy from youth. Antonio comes off more like an uncle.

Both discrepancies are not very damaging, given Cole’s and Mackay’s excellence as actors and Reggiardo’s skill at showing that Antonio’s protective feelings for Bassanio can easily be seen as paternal.

More damaging, however, is that in making the play accessible, Bradac occasionally panders to the audience with shtick. The egomania of the Moroccan prince and the lisping feyness of the French prince--though executed with admirable flair--overreach the mark and become predictable cliches, cheapening an otherwise richly satisfying production.

* “The Merchant of Venice,” Waltmar Theatre, Chapman University, 310 E. Palm Ave., Orange. Thur.-Sat., 8 p.m.; Sun., 3 p.m. Ends Aug. 9. $22-$24. (714) 744-7016. Running time: 2 hours, 35 minutes.

Carl Reggiardo: Antonio

Donald Sage Mackay: Bassanio

Michael Nehring: Gratiano

Mark Costanzi: Salerio

Sean Cox: Solanio

Brian Kolb: Lorenzo

Jenna Cole: Portia

Beth Kellermann: Nerissa

Samantha Klein: Rosalind

Phillip Case: The Prince of Morocco

John Shouse: The Prince of Aragon, the Prince of Venice

Neil Vipond: Shylock

Roger Loesch: Tubal

Mark Coyan: Launcelot Gobbo, Old Gobbo

Laura James Standley: Jessica

Peter Westenhofer: Leonardo

Matthew McCray: Stephano, A Gaoler

A Shakespeare Orange County production of a play by William Shakespeare. Directed by Thomas F. Bradac. Scene design: Julie Allardice-Ray. Costume design: Linda Davisson. Lighting design: Donna Ruzika. Composer, sound design: Bill Georges. Wigs: Christine Stahl. Stage manager: Wendy Ruth.