Negotiating the bond with Shylock

The 1978 production of The Merchant of Venice was director John Barton’s first staging of a Shakespeare play in the The Other Place, the company ‘s intimate studio theatre in Stratford-upon-Avon. Most reviewers considered it an energetic production which blended the lyrical with the comic, exemplified by John Nettles as as Bassanio, seen here negotiating the bond with Antonio and Shylock. John Barton opted for a late 19th/early 20th century setting on a bare set decorated with strategically placed furniture and props including a table,chairs and a pair of scales. The atmosphere was further enhanced by James Walker’s music and Leo Leibovici’s lighting. In 1979 the production transferred to the Gulbenkian Studio, Newcastle-upon-Tyne then the Warehouse, London. It was revived in 1981 with David Suchet as Shylock and Sinéad Cusack as Portia.

Costume list for Bassanio, Shylock and Antonio

This is the costume list for the three actors seen in the previous production image. The list was used by stage management to check that the correct costumes were in place for each performance.We can see that the three men wear sober browns and black but the affluent clothes of Bassanio and Antonio contrast sharply with the shabby old-fashioned frock-coat worn by Shylock. Bassanio (John Nettles) sports an impressive overcoat with a fur collar, a velvet suit and a pin-tucked white shirt. Antonio (David Bradley) is also expensively dressed in a heavy overcoat, tweed suit, brocade waistcoat, frill-fronted shirt and silk cravat decorated with a pearl stud. The wealthy Christians seem to be living in a dfferent era to Shylock (Patrick Stewart), whose old-fashioned dress is based on the clothes worn by Russian Jews in the 19^th century.

“…it is a wise father that knows his own own child” Lancelet Gobbo, Act 2 Scene 2

In John Barton’s production Launcelet Gobbo, played by Hilton McRae, was a musical clown “with a penny whistle tied around his neck, concertina at hand, lute at his hip and a way with a motorhorn which startled his dad and his audience every time he dealt it a blow” Derek Crane, Stratford Herald, 19 May 1978. The motorhorn together with the concertina were used to great effect when Launcelot related his internal battle between Conscience and the Fiend about leaving Shylock’s service. In this production photo, we see the moment after this debate when he encounters his blind father, Old Gobbo, but initially hides his identity.

“Tell me where is fancy bred” song

This image shows the score by James Walker for “Tell me where is fancy bred”, which is sung as Bassanio makes his choice of casket in Act 3 Scene 2. James Walker (1929-2002) was a prolific composer of incidental music for the company and held the distinction of being the first person to play the lute on the stage of the Royal Shakespeare Theatre. He also played the clarinet and piano and was a member of The Archduke Trio, which had a close association with the University of Leicester. His music for the production was vital in creating mood and atmosphere in the intimate space of The Other Place.

“And here choose I. Joy be the consequence!” Bassanio, Act 3 Scene 2

In this production image, Bassanio (John Nettles) has opened the lead casket and discovered Portia’s image ,which indicates that he has made the correct choice. The selection process was staged like a ritual with Bassanio circling around the caskets to the accompanient of James Walker’s evocative music. The whole production had a lyrical quality and according to John Nettles, during rehearsals the director, John Barton, read passages from Thomas Malory’s medieval writings to convey the mythical-romantic tradition.

“A sour, loveless man, corroded by avarice, mutilated by money” Benedict Nightingale, New Statesman, 4 May 1979

Patrick Stewart first played Shylock at the Bristol Old Vic in 1965, then again in 1978 and 2011 for the company.He was attracted to Shylock’s use of ironic humour. Rather than play Shylock as a victim or villain, Stewart opted to portray a complex man who could be mean-spirited and vengeful, but who also happened to be Jewish. The slapping of Jessica, his daughter, before leaving her in charge of the house, created a strong reaction from audiences and demonstrated that this Shylock was capable of cruel behaviour. In this production photo, the resolute Shylock sits at a table with a pair of scales, the symbol of justice, but also a practical weighing device for his pound of flesh. Patrick Stewart’s energetic Shylock was central to John Barton’s lively production.

“Most heartily I do beseech the court
To give the judgement” Antonio, Act 4 Scene 1

Like the earlier caskets scene, Barton staged the trial like a ritual. Here we see the focus of Shylock’s hateful revenge, the merchant of the play’s title, Antonio, bound and awaiting the judgement of the court. David Bradley’s Antonio has been stripped of his rich clothes apart from the elaborate frill-fronted shirt and trousers. Ominously his shirt has been opened at the front giving easy access to his chest. The contrast between the well-dressed Antonio and the shabby Shylock was also signalled by their smoking preferences: Antonio smoked a cigar while Shylock hoarded cigarette ends in battered tin box. Significantly, after Shylock’s defeat in the court, he abandoned his Yarmulke (small round cap) and lay on the ground in front of the judges. He left the court laughing, a sign of insanity or sardonic humour?

Barton’s production ended with a joyous healing celebration of love. “As the narrative lightens, Portia and Nerissa emerge from the long fur-trimmed coats of winter…to emerge resplendent in white at the triple wedding…among a shower of pink and white flowers”. Sally Aire, Plays and Players, July 1978. In this production image we see the central couple, Bassanio (John Nettles) and Portia (Marjorie Bland), dressed in white and wearing floral garlands. The other wedding couples were Nerissa and Gratiano, Lorenzo and Jessica. The audience were literally transported from the dark to light, typical of Barton’s staging, which cleverly illuminated the themes and narrative of the play.

Act 1 Scene 2

Portia By my troth, Nerissa, my little body is aweary of this great world.

Portia (Sinead Cusack) explains to Nerissa (Corinna Seddon) that she's fed up with her situation. They discuss her father's will which orders that her suitors must pick one of three caskets in order to win her hand in marriage. If they choose correctly, they find a portrait of Portia and permission to marry her; if they fail, they must swear not to marry anyone else.

This exchange takes place in Belmont - notice the flowing costumes, long hair and filigree bench which create a sense of Belmont as a feminine, delicate place.

Act 2 Scene 2

Launcelot Gobbo Turn up on your right hand at the next turning, but, at the next turning of all, on your left

Shylock's servant Launcelot (Rob Edwards) plays a trick on his father, who is blind. Old Gobbo (Jimmy Gardner) has asked him directions to Shylock's house so Launcelot tries to confuse him. Notice the gangly body language here and unusual props which suggest they are comic characters.

Act 2 Scene 2

Bassanio Go, father, with thy son. / Take leave of thy old master and inquire my lodging out.

Launcelot Gobbo eventually decides he wants to leave Shylock's service, and asks Bassanio to hire him, and his father.

Left to right:
Old Gobbo - Jimmy Gardner
Bassanio - Jonathan Hyde
Launcelot Gobbo - Rob Edwards

Act 2 Scene 5

Shylock Hear you me, Jessica: / Lock up my doors...
Let not the sound of shallow foppery enter my sober house.

Shylock has been summoned out for dinner. After a worrying dream the night before, he warns his daughter Jessica not to look out at the partying in the streets. Notice that Shylock is wearing orthodox Jewish dress, and in the background on the desk are his scales for money-lending, which foreshadow the scales which appear in the trial scene.

Left to right:
Jessica - Judy Buxton
Shylock - David Suchet
Launcelot Gobbo - Rob Edwards

Act 2 Scene 7

Prince of Morocco 'Who chooseth me shall gain what many men desire.' 
Why, that's the lady; all the world desires her ...
Never so rich a gem / Was set in worse than gold.

The Prince of Morocco, another suitor keen to marry Portia, chooses the golden casket. Notice the exaggerated costuming of all the characters which adds a comic tone to the scene.

Left to right:
Prince of Morocco - Terry Wood
Portia - Sinead Cusack
Maid - Judy Buxton
Nerissa - Corinna Seddon

Act 4 Scene 1

Bassanio Wrest once the law to your authority: 
To do a great right, do a little wrong, / And curb this cruel devil of his will.

Bassanio offers to pay Shylock twice the money Antonio owes him, and begs Portia (disguised as Balthasar) to bend the law so that Antonio can be released from the bond. Notice the prominence of the props in this moment in the production - Shylock with this knife, gloves and towel, Bassanio with a money-bag and 'Balthasar' with scales.

Left to right:
Shylock - David Suchet
Bassanio - Jonathan Hyde
Portia - Sinead Cusack

Act 4 Scene 1

Portia This bond doth give thee here no jot of blood; / The words expressly are 'a pound of flesh'

Just as Shylock is about to cut into Antonio to take his 'pound of flesh', Portia points out that the bond is forfeit if he takes a single drop of blood. Notice how exposing Antonio's chest emphasises his vulnerability at this moment.

Left to right:
Bassanio - Jonathan Hyde
Antonio - Tom Wilkinson
Shylock - David Suchet
Portia - Sinead Cusack

Act 4 Scene 1

Shylock Nay, take my life and all; pardon not that: 
You take my house when you do take the prop / That doth sustain my house; you take my life
When you do take the means whereby I live.

After saving Antonio's life by pointing out the error in the bond, Portia (Sinead Cusack) continues to explain that Shylock has committed a criminal offence in threatening the life of a Venetian. For this crime, half of the offender's wealth goes to the state, and half to the person threatened. Shylock (David Suchet) says that, without his wealth, they might as well kill him.

Notice the change in Shylock body-language throughout this scene (see previous photos) as he is gradually stripped of his power.

Act 5 Scene 1

Bassanio Were you the doctor and I knew you not? 
Gratiano Were you the clerk that is to make me cuckold?

Portia and Nerissa pretend that they obtained their husbands' rings because they 'lay with' Balthasar and his clerk - but Portia soon reveals that she and Nerissa were these men in disguise. Notice this strong contrast of the relaxed white suits and ruffled dresses with the dark formal suits of the trial scene (see previous photos).

Left to right:
Bassanio - Jonathan Hyde
Portia - Sinead Cusack
Lorenzo - Michael Siberry
Jessica - Judy Buxton
Gratiano - Arthur Kohn
Nerissa - Corinna Seddon
Antonio - Tom Wilkinson