Delacorte Victory!

Well, 5th time's the charm. Finally got into Merchant of Venice at the Delacorte Theatre! It was a last-minute decision (joined the line at 6:20 pm), since I'd been planning to go on a sunset/moonlight hike on Breakneck Ridge today. I didn't think there was any real chance, since the voucher folks had apparently been shut out after waiting from 3 am, but figured it was a good opportunity to read Crisis and Command, listen to RFI podcasts, nap, and observe the passing scene.

MoV was good, though played for tragedy; in this production, all three pairs of lovers are haunted by the events in Venice, starting their married lives under a cloud.

Although Shylock obviously is vicious in his revenge, they also highlighted the unchristian behavior of the Christians ... both where the text required it, and elsewhere. In particular, the forced baptism scene involves a tableau in which two "Christians" disdainfully knock Shylock's yarmulke off his head and immerse him, then walk away, leaving him practically face-down in the pool. Two Jews then come in to help Shylock up and escort him away from there. He is clearly grateful for their support, but eventually feels compelled - reluctantly - to make his way toward the silent watching Christians.

Playing the baptism scene this way strikes me as a modern interpretation. Those imposing a forced conversion as condition of Shylock's continued life would surely have thought they were doing him a favor; they were saving his soul. In that context, it's hard to imagine (rationally) that they would have been so vicious in welcoming him into their flock. Surely he would no longer be an outsider, an Other, a Jew, and they would presumably (if they wish to claim the name of Christian) have to change their ways toward him. Then again, their treatment of Shylock from the beginning never showed any signs that they were attempting to follow Christ's example, so rational thought may not have entered into it.

Of course from a modern perspective, it's difficult to believe that a forced, outward conversion could have any value in changing the state of one's soul, let alone one's heart. Thus the reinterpretation of this forced baptism as a way of cutting Shylock off from his friends and support system, his tribe. Yes, a dismal prospect.

The one thing that doesn't quite work for me in the production is Jessica's transformation from eager convert to disaffected wife. It can't be based on the treatment of her father, since she hasn't heard about that yet. She herself seems to be welcomed into the fold wholeheartedly, especially by her new husband, so it does not seem to be that either. Perhaps we are supposed to think this is what happens when we reject our roots, our "people" -- but that does not ring entirely true to me, in the context of the play.

Nor does it ring entirely true in America, either, where past generations often shed their former identities as quickly as they could (my grandfather knows very little about his ancestors for this very reason). And especially in New York City, where people come to reinvent themselves, and one of the first things to go may be the last vestiges of the seemingly restrictive religious identities of their youth.