The Merchant of Venice is generally classified as a comedy, but the Shakespeare’s Globe production emphasizes the darker aspects of the play. Shylock the Jewish moneylender, brilliantly portrayed by Jonathan Pryce (Game of Thrones, Wolf Hall), stands upon the stage as a sympathetic and tragic figure by the end of the evening. It’s a pity that the Kennedy Center for the Performing Arts featured only five special performances in Washington, DC.
Director Jonathan Munby weaves together the acting and music in a way that immerses viewers in the merriment and excesses of the Venetian setting. A masque sequence is added at the beginning with dancing, drums, and shouting wonderfully choreographed by Lucy Hind. The actors moved about in the aisles to greet us, even going so far as touching the shoulders of theatergoers hurriedly taking their seats. The opening scene also displays the outsider status of passerby Shylock when these Christian revelers cease the music and attack him. Munby confronts us with persecution and thus directs our sympathy toward Shylock from the start.
Here’s another piece for my archive, originally published at Blogcritics.org. The Merchant of Venice had a great run in Washington, D.C. The production has since moved to Chicago and continues on its world tour. See the Globe Theatre on Tour site to see future performance dates and locations.
The Kennedy Center Eisenhower Theater will host five special performances of Shakespeare’s The Merchant of Venice from July 27 through 30 in Washington, D.C. The production, directed by Jonathan Munby, stars Jonathan Pryce CBE (Wolf Hall,Game of Thrones) as moneylender Shylock. I reached out to the John F. Kennedy Center for Performing Arts to learn more about this leg of the Globe Theatre on Tour.
Director Peter Kosminsky enjoys bringing viewers in and out of Cromwell’s head… It’s an upheaval of the mind that mirrors the unpredictability of the circumstances in which Cromwell finds himself.
This review contains major spoilers. Proceed with caution!
“Wolf Hall” finally drew to a close on PBS this weekend with “Master of Phantoms.” It’s 1536 and Thomas Cromwell is set on freeing Henry VIII (Damian Lewis) from Anne Boleyn, bringing a set of rousing portrayals by Mark Rylance and Claire Foy. I’ve taken issue before with Claire Foy’s scenes; but in this installment, she was very compelling as the now spurned queen. Momentum has been building in previous episodes: ultimately pointing to Cromwell’s mission to seek vengeance against Cardinal Wolsey’s (Jonathan Pryce) enemies.
The clash of the Cromwell and Anne is captured from the start in a daymare, in which a feast is laid out. Cromwell looks on wide-eyed as Anne’s body is pulled across the table towards him. It’s quite disturbing yet artfully done, as Anne’s gaze finally hits our own directly through the frame. The dark tone continues on, as Cromwell comes back to himself and the luncheon at his home. Director Peter Kosminsky enjoys bringing viewers in and out of Cromwell’s head, throwing a seemingly mundane moment (e.g. a dinner, looking out of a window) into something absolutely bizarre, hilarious, or horrifying all at once. It’s an upheaval of the mind that mirrors the unpredictability of the circumstances in which Cromwell finds himself. Continue reading “Cromwell is the ‘Master of Phantoms’ in a Rousing ‘Wolf Hall’ Finale”
In the end, it’s the king who is the most dangerous figure. Make your move Cromwell, before it’s too late.
Caution: This post contains spoilers from the fifth episode of “Wolf Hall.”
This coming Sunday, Masterpiece on PBS will air the final chapter of “Wolf Hall.” Take the opportunity to catch up before the big finale. The fifth installment of “Wolf Hall” from last weekend is aptly named “Crows” with a marked change in Thomas Cromwell’s (Mark Rylance) circumstances. He’s always had a few adversaries to contend with but this time they are gaining ground. It’s the first time in a while that the Machiavellian administrator is scrambling on a defensive position, rather than calling the shots. Continue reading “Cromwell’s Situation Appears Uncertain in “Wolf Hall” with Looming “Crows””