UA's 'Merchant' shows the dark side of Shakespeare

A comedy?

While there are some funny moments, Shakespeare’s “The Merchant of Venice” hardly seems a comedy, though that’s what it is officially dubbed.

Arizona Repertory Theatre’s current production underscores the dark, cruel nature of the play.

And, frankly, there are moments that are cringeworthy: the venom spewed at the Jewish money lender, Shylock, the demand that he become a Christian when he loses a court case, Shylock’s insistence he take the pound of flesh agreed upon when a loan defaults.

Director Brent Gibbs placed this production in the 1930s, when fascism was on the rise, T.S. Eliot’s anti-semitic poems were revered and the long persecution of the Jews continued.

He could just as easily placed it in contemporary times, when Muslims are vilified, insults rain down from the White House and hate speech has become the norm.

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This production shows off the talent of the University of Arizona theater students.

It is lead by Connor Griffin in the role of Shylock. He was remarkable. The anger at the insults hurled at him, the agony of losing a daughter who robs him and becomes a Christian, the darkness that descends on him when he is forced to give up his faith, his unwavering desire for revenge — they were all palpable and heartbreaking in his hands.

The role of Antonio, who guarantees the loan for his friend Bassanio, was given a strength and arrogance by Alec Michael Coles. He possessed the character, who has little to endear himself to audiences: much of the poison hurled toward Shylock and Jews in general comes from him.

Kelly Hajek’s Portia — one of Shakespeare’s great roles for a woman — was feisty and flirtatious, and her delivery of the “quality of mercy” speech in the climax trial scene, hit the mark.

Tyler West is in his last show with the UA, and he made the most of it as the clown, Launcelot. West is a sublime physical comedian, and the laughs were much needed.

This is a most unsettling play and even this strong, fast-paced production can’t quiet the discomfort one has watching it. It feels overwhelmingly current and much more a tragedy than a comedy.