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Performed by the LSC at The Lawn, Lincoln 6th
- 14th March 1998
Petwood Hotel, Woodhall Spa 21st - 22nd March
1998
Director: Richard Main
Musical Director: Joe Conway
Cast
The Duke of Venice: Dave Clayton
The Prince of Arragon, suitor of Portia: Chas
Rodgers
The Prince of Morocco, suitor of Portia: Dave
Clayton
Antonio, a merchant of Venice: Neil Perkins
Bassanio, his friend, suitor of Portia: Richard
Jones
Portia, a lady of Belmont: Claire Hollingsworth
Shylock, a Jew of Venice: Ian Morfitt
Gratanio: Rob Smith
Salerio: Jo Clark
Solanio: Richard Davies
Lorenzo, in love with Jessica: James Rushton
Nerissa, Portia's waiting woman: Liz Lucas
Jessica, daughter of Shylock: Aggi Gunstone
Tubal: Richard Main
Stephanie, servant of Portia: Helen Tholen
Launcelot Gobbo, servant of Shylock: Colin Adrian
Old Gobbo, father of Launcelot: Richard Main
Clerk of the court: Chas Rodgers
Bassanio asks his rich friend, Antonio for a loan
to help him woo Portia. Antonio's wealth is invested in merchant
ships, so he asks Shylock, a Jewish money lender for a loan to give
to Bassanio. Shylock lends the money on condition that if it is
not paid back by the end of three months, he will receive a ponud
of Antonio's flesh instead. Meanwhile, Portia's suitors must choose
the correct casket from gold, silver and lead before she is allowed
to marry. Bassanio selects correctly, and they are wed. However,
tragedy looms when all Antonio's ships are lost at sea, and Shylock
is eager to remind him that three months has passed...
"We decided to set the play in the late
1800s, when European Empires were at their peak, and merchant
ships filled every port. Where the merchants of that era put their
trust in commercial value through trade, many of the characters
in 'The Merchant of Venice' put their trust in ventures with an
element of risk. Antonio risks his fortune in his ships. Portia's
future is leftt to whoever chooses the right casket and Shylock
risks a bond which may give him a chance to take revenge on the
society from which he feels himself alienated from. Essentially,
the play is concerned with how dangerous it can be for us to leave
our lives to chance and fate, and how circumstances can drift
and affect us."
Richard Main, Director, 'Tubal', 'Old Gobbo'.
"One of our regular actors, Dave Clayton,
is well renowned for his attention to detail regarding his own
costumes. As Antonio in 'Twelfth Night' his famous sea cap made
its first appearance, along with a couple of false tattoos. In
'King Lear', he could not be persuaded to part with his arabian
scarf, and in 'The Taming of the Shrew', he insisted on blacking
his teeth and greying his hair. However, he surpassed himself
in 'Merchant', when he was dressed in a kaftan as a Moroccan.
He decided that he needed an impressive male appendage in order
to woo Portia, and because of the flowing nature of his dress
his own natural attribute would not suffice. He decided to construct
a prosthetic addition to his manhood , consisting of a very big
marble stuffedinto an old sock, that he religiously fastened round
his waist every night. The audience were blissfully unaware of
his efforts, thankfully, but it made Dave feel good."
Richard Davis, 'Solario'.
"As always, the standard of performance was
high...the enthusiastic cast, clearly enjoying themselves, made
the story easy to follow and a joy to watch."
JCH, Lincoln Chronicle, March 1998
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