THE

LYCEUM
Royal Lyceum Theatre Edinburgh

the merchant
of venice
WILLIAM SHAKESPEARE

22 September – 21 October 2006

E D U C AT I O N R E S O U R C E PA C K
THE
LYCEUM
Royal Lyceum Theatre Edinburgh

1 Introduction and Context

contents 2 Cast list

3 Characters

5 Plot synopsis

7 The Problem with Shylock

8 Jimmy Chisholm on Shylock

9 Production design

11 Themes, Structure and Symbols

13 Language

14 A conversation with Neve McIntosh

15 Drama exercises

17 Study questions

‘All that glisters is not gold;

Often have you heard that told:
Many a man his life hath sold
But my outside to behold:
Gilded tombs do worms infold’
Introduction
Written sometime between 1596 and 1597, The Merchant of Venice
is classified as both an early Shakespearean comedy (more
specifically, as a “Christian comedy”) and as one of the Bard’s
problem plays; it is a work in which good triumphs over evil, but
serious themes are examined and some issues remain unresolved.
Its basic plot outline, with the characters of the merchant, the poor
© RSC
suitor, the fair lady, and the villainous Jew, is shared with a number
of Italian story collections. Other details, such as the choice of caskets that the suitors have to select
from, are also borrowed from pre-existing sources. The Italian setting and the marriage plot are typical
from Shakespeare’s earlier comedies, however the characters of Portia (Shakespeare’s first great
heroine) and the memorable villain Shylock make this play stand above the rest.

Context
Shylock’s demand for a pound of flesh has made him one of literature’s most unforgettable villains,
although some readers and theatre goers see him as a sympathetic and compelling character.
The idea of whether Shakespeare intended the play to be Anti-Semitic has been of much debate.
Jews in Elizabethan England were so few, it is unlikely that Shakespeare or his contemporaries
would have known any; however, they would be familiar by the portrayals of Jews as villains and
figures of ridicule. For example, Christopher Marlowe’s popular The Jew of Malta, a bloody farce
about a murderous Jewish villain was thought to be of great influence to Shakespeare when creating
his own Jewish character. Although, he draws upon this anti-Semitic tradition, Shakespeare’s
characterisation is far more complex than the Jew that appears in Marlowe’s play. By showing that
Shylock’s loathing is a result of the oppression his race has suffered in a Christian society, he evokes
from readers and audiences compassion and pity, rather than contempt and disparagement.

1
The Merchant of Venice
Royal Lyceum Theatre Company
22 September – 21 October 2006

cast
Antonio Neil McKinven
Bassanio Liam Brennan
Gratiano Steven McNicoll
Salerio Gavin Kean
Solanio Richard Conlon
Lorenzo Robert Jack
Shylock Jimmy Chisholm
Jessica Ruth Connell
Tubal Eric Barlow
Launcelot Gobbo Mark McDonnell
Portia Neve McIntosh
Nerissa Suzanne Donaldson
Morocco/Duke Christopher John Hall
Arragon/Gaoler Harry Smith

company
Designer Gregory Smith
Director Mark Thomson
Lighting Designer Chris Davey
Composer Philip Pinsky
Deputy Stage Manager Claire Williamson

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characters
Antonio
Antonio is the Merchant of the play’s title. A melancholy figure, he is prepared to give all
to help his friend Bassanio, which results in him almost losing his life. Antonio
exemplifies the limits to which love and friendship may be taken.
Antonio stands in contrast to Shylock’s calculating greed. He is miserable, passive in
his acceptance of events affecting his life and is ultimately a lonely figure at the end
of the play when surrounded by happy couples. The other side of his nature is seen
from Shylock’s descriptions of how he spat upon Shylock’s beard and undermined his
business practices. However, he does perhaps reflect the ideal of selfless generosity
which is the play’s central theme.

Bassanio
A gentleman of Venice, a kinsman and good friend of Antonio’s. Bassanio’s love for the
wealthy Portia leads him to borrow money from Shylock with Antonio as his guarantor.
An ineffectual businessman, Bassanio proves himself a worthy suitor, correctly
identifying the casket that contains Portia’s portrait.

Shylock
Shylock demonstrates the stock features of the Elizabethan caricature of a Jew: hatred
of Christians and the practice of usury (lending money out at interest). He holds an
uncompromising hatred of Antonio and all that he stands for. Despite his love of money,
he is prepared to risk a monetary loss so that he can kill Antonio. This side of Shylock
does not make the audience like him very much!
Shylock’s description of how Antonio has abused him and spat on him, and deliberately
undermines his business serves to redress the balance a little in his favour. His
response to his daughter’s elopement with a Christian and jewels also give us pause
for thought, as does his famous speech ‘If you prick us’ (Act 2, Sc 1), but then he spoils
his plea by using it to justify plain revenge. The trial scene shows him at his worst:
he brings along his own scales and knife, he rejects any plea for justice to be tempered
by mercy and refuses the offer of a surgeon. When justice is eventually served and
Shylock gets the sharp end, he has lost the audience’s sympathy.

3
characters
Portia
Similarly to Antonio, at the beginning of the play we see Portia as weary, due to her lack
of choice over her future husband. Remaining loyal to her father, she accepts that her
husband will be any man who chooses the right casket. When Bassanio reveals his friend’s
misfortune, she is quick to offer support and when Bassanio returns to Venice to help Antonio,
she secretly joins him as a lawyer. There she proceeds to defend Antonio and shows herself
to be resourceful and commanding. She clearly and cleverly expounds the law, leading Shylock
gently to a path of his own destruction. By practising Shylock’s own strict adherence to the law,
justice without mercy, she opens the way for the same to be applied to him.
When back in Belmont she again demands the letter of the law of Bassanio in the ring plot,
but then immediately shows him the mercy that was not given to Shylock in Venice.
Portia’s love for Bassanio, and therefore for his friend Antonio, overpowers Shylock’s greed
and defeats his deadly intent. Like Antonio and Bassanio, she demonstrates the power
of friendship and love over greed.

Gratiano
Companion to Bassanio and Antonio, Gratanio ‘speaks an infinite deal of nothing’; he is
‘too wild, too rude, and bold of voice’. He accompanies Bassanio to Belmont which shows
the power of Bassanio’s friendship, although Bassanio could well have judged it better not
to take Gratiano on such a delicate mission. His marriage to Nerissa both echoes and
emphasises the love of Portia and Bassanio.
To a certain extent he acts as a contrast to Bassanio, for example his more casual attitude
to the ring plot, and at the trial scene he shows an ugly side when bating the desperate
Shylock. Bassanio behaviour is more dignified and concerned.

Jessica
Shylock’s daughter Jessica plays only a small part in the play. She demonstrates the power
of love by being prepared to abandon not only her father but her religion. Her casual use
of money infuriates Shylock and leads to him bemoaning his loss publicly, much to the
amusement of all. It lessens the impact of what she has done and helps to bias the audience
against her father.
The expressive poetry of her scenes with Lorenzo represents the supremacy of love and as
such underpins a vital theme of the play.

Other Characters
Lorenzo friend of Antonio and Bassanio
Nerissa maid and companion to Portia
Launcelot servant to Shylock then to Bassanio
Old Gobbo Launcelot’s father
Tubal fellow Jew
Salerio and Salanio two gentlemen of Venice
The Prince of Morroco and the Prince of Arragon suitors to Portia
The Duke of Venice The trial judge
4
plot
synopsis

A CT O N E
Bassanio, a Venetian gentleman, has spent all his money. He wishes to mend his fortunes by
marrying Portia a rich heiress who lives in Belmont. His friend Antonio, a merchant, is willing to
help but all his money is tied up in ships trading across the world. Antonio agrees to use his own
good name to secure his friend a loan of three thousand ducats. Antonio suggests that Bassanio
secure the loan from one of the city’s moneylenders and name Antonio as the loan’s guarantor.
In Belmont, Portia expresses sadness over the terms of her father’s will, which states that she
must marry the man who correctly chooses one of three caskets “of gold, silver and lead”.
None of Portia’s current suitors are to her liking, and she and her lady-in-waiting, Nerissa,
fondly remember a visit paid some time before by Bassanio.
In Venice, Antonio and Bassanio approach Shylock, a Jewish moneylender, for a loan. Shylock
harbours a long standing hatred of Antonio, who condemns him and other Jews for usury, the
charging large amounts of interest onto their loans. Despite this, Shylock agrees to lend Antonio
the money and charge no interest, but he adds should the loan go unpaid, Antonio must forfeit
a pound of his own flesh to be cut off from wherever Shylock wishes.
In Shylock’s own household, his servant Lancelot decides to leave Shylock’s service to work
for Bassanio, and Shylock’s daughter Jessica escapes with Lorenzo, a Christian gentleman,
by dressing as his page.

A CT T W O
In Belmont, Portia welcomes the prince of Morocco, who has come in an attempt to choose the
right casket to marry her. The prince chooses the gold one, which proves to be an incorrect choice.
In Venice, Shylock is enraged to find that his daughter has run away, but rejoices in the fact that
Antonio’s ships are rumoured to have been wrecked and that he will soon be able to claim his debt.
In Belmont, the Prince of Arragon also visits Portia. He also studies the caskets carefully, but he
picks the silver one, which is also incorrect. Bassanio arrives at Portia’s estate, and they declare
their love for one another. Despite Portia’s request that he wait before choosing, Bassanio
immediately picks the correct casket, which is made of lead. He and Portia rejoice, and Gratiano
confesses that he has fallen in love with Nerissa. The couples decide on a double wedding. Portia
gives Bassanio a ring as a token of love, and makes him swear that under no circumstances will he
part with it. They are joined, unexpectedly, by Lorenzo and Jessica. The celebration, however, is cut
short by the news that Antonio has indeed lost his ships, and that he has forfeited his bond to
Shylock. Bassanio and Gratiano immediately travel to Venice to try and save Antonio’s life.

I N T E R VA L
5
plot synopsis
A CT T H R E E
Portia tells Nerissa that they will go to Venice disguised as men. Shylock ignores the many
pleas to spare Antonio’s life, and a trial is called to decide the matter. The duke of Venice,
who presides over the trial, announces that he has sent for a legal expert, who turns out
to be Portia disguised as a lawyer. Portia asks Shylock to show mercy, but he remains
inflexible and insists the pound of flesh is rightfully his. Bassanio offers Shylock twice the
money due him, but Shylock insists on collecting the bond as it is written. Portia examines
the contract and, finding it legally binding, declares that Shylock is entitled to the
merchant’s flesh.

Shylock ecstatically praises her wisdom, but as he is on the verge of collecting his due,
Portia reminds him that he must do so without spilling any blood, for the contract does not
entitle him to any blood. Unable to argue with this, Shylock falters and agrees to take
Bassanio’s money instead, but Portia insists that Shylock take his bond as written, or
nothing at all. Portia informs Shylock that he is guilty of conspiring against the life of a
Venetian citizen, which means he must turn over half of his property to the state and the
other half to Antonio. The duke spares Shylock’s life and takes a fine instead of Shylock’s
property. Antonio also forgoes his half of Shylock’s wealth on two conditions: first, Shylock
must convert to Christianity, and second, he must will the entirety of his estate to Lorenzo
and Jessica upon his death. Shylock agrees and takes his leave.

Bassanio, who does not see through Portia’s disguise, showers the young law clerk with
thanks, and is eventually pressured into giving Portia the ring with which he promised
never to part. Graziano gives Nerissa, who is disguised as Portia’s clerk, his ring. The two
women return to Belmont, where they find Lorenzo and Jessica declaring their love to
each other. When Bassanio and Graziano arrive the next day, their wives accuse them of
faithlessly giving their rings to other women. Before the deception goes too far, however,
Portia reveals that she was, in fact, the law clerk, and both she and Nerissa reconcile
with their husbands. Lorenzo and Jessica are pleased to learn of their inheritance from
Shylock, and the joyful news arrives that Antonio’s ships have in fact made it back safely.
The group celebrates its good fortune.

6
the problem with Shylock
Even though critics agree that Shylock is The Merchant of Venice’s most prominent figure, no
consensus has been made on whether to interpret him as a murderous villain, a clownish Jewish
stereotype, or a tragic figure whose sense of decency has been broken by the prejudice he suffers.
Undoubtedly, Shylock is the play’s antagonist, and has the potential to ruin the lives of Venice’s
businessmen and the lovers alike. Simultaneously however, Shylock is a creation of the society he
lives in. Even in his determined quest for a pound of Antonio’s flesh, his continuous reference to
the cruelty he has endured at the hands of Christians make it hard for us to brand him as simply a
natural born monster. In Shylock’s speech below, we sympathise with the Jew, who has been unfairly
and brutally treated by the Venetians but his promise to behave as badly as they and moreover with
“better instruction”, casts him in a less sympathetic light.

‘I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions;
fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same
means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not
bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not
revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is
his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example?
Why, revenge. The villainy you teach me I will execute, and it shall go hard but I will better the instruction’.
(III.i.49–61).
7
Shylocks in the past
The controversial nature of Shylock’s character has led to many different interpretations.

Reg Wilson: © RSC

Loveday Ingram’s 2001 RSC production of The Merchant of Venice cast Ian Bartholomew (above)
as Shylock. This production began its run on the Pit Stage at the Barbican, went onto the
Swan Theatre in Stratford, and then on tour internationally. Set in the Victorian times, this
production was described by audience members as being a more romantic interpretation of
the play where Shylock’s character was less angry and less prominent.
Hugo Glendinning: © RSC

In contrast, Antony Sher (above) played Shylock in Bill Alexander’s Merchant in 1987. Commentors
claim that Alexander accentuated the Anti-Semitic feature of the play. Sher’s Shylock adopted a heavy
accent, a shuffling walk, a beard, long hair and exotic attire. This production saw Jews and Christians
fighting tooth and nail and with a star of David emblazoned onto the back of the set it attempted to
liberate the play from charges of Anti-Semitism. In this production, although Shylock is portrayed as
an ugly character he is only responding to the even worse behaviour of his oppressors.

8
Jimmy Chisholm
on Shylock
Do you consider Shylock to be inherently evil?
I think in the past I had seen Shylock as bad and
Antonio as good. One of things we’re doing as part
of this production is creating more of a grey area.
The man is not inherently evil, he is part of an
oppressed race who gets the chance to get his
own back. He is personally insulted in the play,
which gives him the resolve to try to carry out this
ridiculous bond. The emotion is rage and that is
a very human condition, people can understand
that. I think it will be open to interpretation
whether people think he is good or evil.
Do you think Shylock deserves his comeuppance?
Yes, I think there’s no excuse for pursuing
another human life. And I think that’s why this
play is relevant right now when you think of the
things that are done in the name of revenge or
religion or politics and I think that’s not human.
Whatever your religion is, that is not a human
thing to do and inhumanity is inexcusable.
Did Shakespeare intend it as an Anti-Semitic
piece or a sympathetic piece?
I think he probably created a monster! I think the
characters of Shylock and Antonio are almost a
back story. The main story was meant to be about
Bassanio and his quest for Portia and the love
story between Gratiano and Nerissa. Just before
The Merchant of Venice, there was a play called
‘The Jew of Malta’, which was very anti-Semitic.
It presented Jews eating their own young,
possessing black magic and being in league with
the devil, which was the opinion on Jews at the
time. So I think he created a bit of a monster
because everyone associates the play with the
pound of flesh, where really it’s just one of the
stories in the play. Perhaps it became much
bigger than Shakespeare intended it to be.
How do you approach the language in the play?
Personally I love poetry anyway; I’ve done lots of
verse, a lot of Shakespeare at the Lyceum and
some modern verse when I did Liz Lochead’s
Miseryguts. I adore it and find it very liberating.
I think the words don’t make sense unless you
honour the format they’re written in. But in saying
that, it’s one of the most naturalistic forms of
poetry. It’s called iambic pentameter and it
sounds frightening but it’s not, in fact, the phrase
“I think I’ll go and make myself a cup of tea” is
perfect iambic pentameter. So, it’s the most
natural of all the verse rhythms. It’s more a
question of following the grammar; the full stops,
the commas, the colons and the gaps, there are
rules to that and as I say, that frees you up to act.
So it’s more like singing than naturalistic acting.
What are you most looking forward to about
the show opening?
It’s a fresh and contemporary look on the play.
I think it’s a valuable time to be doing a play
like this. It’s not as gentle as it might seem on
the outside, it’s a play that condemns hypocrisy,
racism and sexism. It’s a story about a society
that was one of the richest in the world and
whose main concern was protecting itself above
any human being or other race. That is how
Shylock is defeated in court, because their laws
discriminate against aliens and outsiders. I think
it’s great play especially in world politics today.
9
Production design

Designer Gregory Smith shares his ideas for set

and costume for The Merchant of Venice:
“There wasn’t really a design concept. We wanted a smallish space as the play is more of
a chamber piece than a spectacle. It had to look mercantile but also romantic, hence the
mirrors and marble. The fact that it is set in Venice is unimportant, Venice to Shakespeare’s
audience was just an exotic location that they had no reference for, rather as we might
imagine Shangri-La. They knew it was a mercantile culture, and had foreign customs,
which made it exotic. So there is no reference to Venice in the set. However, the idea of
mirrors and rot, which is the aesthetic for the design, was prompted by a visit I made to
Venice. It is very damp, rotten yet quite glamorous. I guess that it was like that when
Shakespeare heard of it and that is another reason for him setting the play there.”

10
Production design
“In terms of costume, Mark decided against period dress and wanted something non-time
specific. So instead of being unoriginal and choosing black suits I chose navy blue and grey as
my colours. They are the kind of colours we associate with the business class, and they added
to the rotten and watery colour scheme. As a contrast to this, and as a clashing accent, when
we go to Belmont, the ladies there wear orange, a colour which I think is very exciting and not
usually seen very much. So the female world is warm, unexpected and exciting. It should be
as if a sunny window has been opened on a dull world.

In contrast to this, the Jews in the play wear black. This is in fact a practical necessity,
as they are wearing the dress we associate strongly with traditional western, religious
Jews. Black is visually quite good as it is in a different world of colour, is associated with
religious strictness, and makes the Jews clearly part of a separate world.

The other people in the play from a world apart are the princes in the casket scene, so again,
their colours choices are different. As they are seen in Belmont, I have put them into the
world of orange. The Prince of Morocco is in a light coloured suit, as men from the Arab world
may often be seen in, and the Prince of Arragon is in a brown suit, as many continental men
wear brown or black suits, and as he is a Spaniard, that seemed to fit.”

10
Themes, Structure
and Symbols
Themes
Themes are the fundamental and often universal ideas explored in a literary work.

Greed versus Love

On the surface, the main difference between the Christian characters and Shylock appears to be
that the Christian characters value human relationships over business ones, whereas Shylock is
only interested in money. However, upon closer inspection, this supposed difference between
Christian and Jew breaks down. When we see Shylock in Act III, scene i, he seems more hurt by
the fact that his daughter sold a ring that was given to him by his dead wife before they were
married than he is by the loss of the ring’s monetary value. Some human relationships do indeed
matter to Shylock more than money. Moreover, his insistence that he have a pound of flesh rather
than any amount of money shows that his resentment is much stronger than his greed.
Just as Shylock’s character seems hard to pin down, the Christian characters also present an
inconsistent picture. Though Portia and Bassanio come to love one another, Bassanio seeks her
hand in the first place because he is monstrously in debt and needs her money. Finally, Shylock
eloquently argues that Jews are human beings just as Christians are, but Christians such as
Antonio hate Jews simply because they are Jews. Thus, while the Christian characters may
talk more about mercy, love, and charity, they are not always consistent in how they display
these qualities.

Mercy versus Justice and the Law

The conflict between Shylock and the Christian characters comes to a head over the issue of
mercy. The other characters acknowledge that the law is on Shylock’s side, but they all expect him
to show mercy, which he refuses to do.
Portia has the opportunity to give freely of the mercy for which she so beautifully advocates.
Instead, she backs Shylock into a corner, where she strips him of his bond, his estate, and his
dignity, forcing him to kneel and beg for mercy. Given that Antonio decides not to seize Shylock’s
goods as punishment for conspiring against him, we might consider Antonio to be merciful.
But we may also question whether it is merciful to return to Shylock half of his goods, only to take
away his religion and his profession. By forcing Shylock to convert, Antonio disables him from
practicing usury, which, according to Shylock’s reports, was Antonio’s primary reason for berating
and spitting on him in public. Antonio’s compassion, then, seems to stem as much from greed as
from concern for his fellow man. Mercy, as delivered in The Merchant of Venice, never manages
to be as sweet, selfless, or full of grace as Portia presents it.

11
Themes, Structure
and Symbols
Structure
Structure is the order in which the scenes are presented. The position of the scenes has an effect on
how an audience perceive the story and the characters.

The Merchant of Venice is built on a set of contrasts. Venice and Belmont have been presented
as opposites: the city, dominated by business, the risks of trade and debt, versus the country
with its freedom, grace and leisure (literally Belmont means ‘fine mountain’).

Symbols
Symbols are objects, characters, figures, or colours used to represent abstract ideas or concepts.

The Pound of Flesh

Antonio enters into a bond with Shylock. In return for 3000 ducats which he wants for his friend
Bassanio, he agrees to repay the money within three months or allow Shylock to cut a pound of
flesh from anywhere on his body. The pound of flesh has many interpretations, it binds Bassanio
and Antonio’s friendship and also reinforces Shylock’s inflexible adherence to the law.

The casket test

Portia’s father decreed in his will that she must marry the man who chooses the correct one of the
three caskets made from gold, silver and lead. He judged that Portia would love a man who can
distinguished between apparent worth and real worth. The contest certainly suits Bassanio, who
knows he does not deserve his good fortune but is willing to risk everything on a gamble.

The elopement
Jessica, Shylock’s daughter, has fallen in love with a Christian gentleman, Lorenzo. She decides
to elope, taking Shylock’s money and jewels. She, with Launcelot who also leaves Shylock’s house,
begins the gradual process of stripping Shylock of all that he possesses.

The ring bond

When Portia and Nerissa marry, they give rings to their husbands, who swear never to part with
them. Following the trial, both men are convinced to give the rings to the lawyer and his clerk.
On return to Belmont, Portia and Nerissa ask where their rings are. They accuse their husbands
of being unfaithful to their vows, but finally admit that they were the lawyer and clerk in disguise,
and forgive their husbands.

12
Language
Like all dramatists writing in the Renaissance
period, Shakespeare wrote in blank verse, a form
that can also be known as Iambic Pentameter.
Blank verse is simply verse that doesn’t
necessarily rhyme.
Iambic pentameter is a form of verse that
followed certain rhythmic patterns and was
recognisable to the Elizabethans of the day.
Iambic – from iambus: a rhythmic foot of
stressed and unstressed syllables
di-Dum
Pent (Pentagon, pentangle) – is the Latin word
for five and tells us how many feet are in each
line. It sounds like this:
De-dum, de-dum, de-dum, de-dum, de-dum
“The qual it ty of mer cy is not strained.
It drop peth as the gen tle rain from Heaven.”
“To be or not to be that is the question.”
Although this may seem like a rigid way of
writing and may appear quite formal to us,
actually, Blank verse, is very close to normal
speech patterns. By following the rhythm, it
shows an actor which words of the text are most
important. These ones are usually emphasised
with a heavy beat.
For example, the first line in the play said
by Antonio:
“In sooth I know not why I am so sad.”
If you take out the unaccented words we are
left with:
“sooth, know, why, am, sad.”
The rhythm of Iambic Pentameter was as familiar
to Elizabethan audiences as the rhythm of a
limerick is to us.
“There was a young man from Norfolk
Who got stung on the leg by a bee
When asked if it smarts
He said ‘why, not all’
He can do it again of he wants”
This doesn’t rhyme but we know it is in verse
because it has a distinctive rhythm.
Shakespeare would also use language to draw
links between two characters in terms of pace
and thought. This can be demonstrated in the
repetitive exchanges of “In such a night” the
scene between Lorenzo and Jessica at the
beginning of Act 5.
Shakespeare did not always use verse and would
sometimes break this rule to alert the audience’s
attention to something. Sometimes Shakespeare
uses prose (has no form, just like natural
speech). Prose speech is usually used by less
noble, more ordinary people to suggest a more
informal way of speaking. Gobbo, for example
speaks in Prose because he is a servant and a
comic character. Salanio and Salerio would
normally speak in verse being from the city but
in Act 3 Scene 1 they are just good pals having a
chat so they speak in prose.
13
A conversation with
Neve McIntosh who
plays Portia
How are the rehearsals going?
Really well. There is so much to discuss!
We started off discussing and just exploring
the text and now we are starting to work in the
space. I come out rehearsals just buzzing. My
head is so full of new ideas and different ways between the two characters. The other cast
that I could play it. Now we have explored loads members help by giving me a different status
of ideas, it’s now time to start making firm on stage as a male character. If they believe you
decisions about the characters and the play. are a man, then it’s easier for the audience to
believe it.
What attracts you to the role of Portia?
First of all it’s Shakespeare and it’s actually You’ve worked quite a lot on the television.
my first Shakespearean role. Talk about going What’s the difference between acting on TV
straight for the biggest one! It’s an amazing part and acting on stage?
and probably one of the best roles Shakespeare Same but different. When you walk on stage
wrote for women. She seems so perfect and yet you’re playing to a live audience, real people
very human. She’s a clever, witty and erudite watching you. When you’re acting on the camera,
woman who can stand her own in a man’s world. you’re playing to a small black box. The camera
catches everything, you can mumble or even
How does she compare to the men around her? whisper, it even picks up tiny changes in your
Is Bassanio worthy of her? eyes which people can’t see on stage. Acting
Yes he is. She very much sees herself as all of in the theatre, you have to expand these
their equals. And with Bassanio, she expresses movements and broadcast it out. It’s a bigger
to Nerissa that she likes Bassanio and she performance on stage but it still needs to be
makes it clear she’s not interested in the other rooted in absolute truth. I love both, but there is
suitors. She asks for his respect when she gives something about having a live audience there.
him the ring, and therefore there’s an equality
that she brings to it. But you see them
strengthening that bond as they go along. You
see them laying down the ground rules, which
every relationship has to have. It’s just a very
different way of starting a courtship.

What physical and vocal changes do you use

when you are disguised as the lawyer?
Physically the way you walk is very different.
To be a lady you’re very poised and you glide
more, a man’s walk has a very different rhythm.
I also deepen my voice a little. The language
the lawyer uses is very masculine and very
authoritarian – which provides a distance

14
Drama Exercises
Practical drama activity is a great way to look further at some of the characters, text and
themes of the play. These exercises can be done in the classroom and need no previous
experience of drama.
In pairs
Read the following extract from Act 2, Sc 8, where the Prince of Morocco chooses the gold casket.
Discuss with your partner what the poem says about the Prince and his choice.
Portia: There, take it, Prince, and if my form lie there,
Then I am yours.
He opens the golden casket.
Morocco: O hell! What have we here?
A carrion of Death, within whose empty eye
There is a written scroll. I’ll read the writing.
All that glisters is not gold;
Often have you heard that told.
Many a man his life hath sold
But my outside to behold.
Gilded tombs do worms unfold.
Had you been as wise as bold,
Young in limbs, in judgement old,
Your answer had not been inscrolled.
Fare you well, your suit is cold.
Cold indeed, and labour lost.
Then farewell heat, and welcome frost.
Portia, adieu, I have too grieved a heart
To take tedious leave. Thus losers part.
Exit with his train. Flourish of cornets.
Portia: A gentle riddance. Draw the curtains, go.
Let all of his complexion choose me so.
A Write your own rejection poem for your chosen situation. The situation does not have to be
about love, it could be about refusing someone a job or a place in a sports team. You can
make it as clever or as insulting as you like. Read it out to the class.

B IMPROVISE: to act something out without preparing beforehand or reading a script.

Think about your character and what you think he/she would say. Try and respond
to your partner/group as you think your character would.

Improvise the following:

A person trying to asking his friend to lend him some money.
A young couple discuss the idea of eloping with some of their parents’ money.
A father discovers his daughter has run away with some of his money.
A person getting the chance to get their own back on an enemy.
A person disguises themselves as a member of the opposite sex and has a disagreement
with their boyfriend/girlfriend.
15
Drama Exercises
In a group

TABLEAU: a still or frozen image created by all the members of the group. Members of the
group can represent people or objects.

Create two tableaux that represent the different worlds of Venice and Belmont. They can
be abstract, using shapes to suggest atmosphere. Add sound and movement to each one
– again these can be abstract.
Create four tableaux that tell the story of The Merchant of Venice.
In each tableau, each character should improvise a line that they would be saying.

As a class
Shylock is to be given a fair trial for his attempts to murder Antonio. Set up a courtroom with a
judge, a jury and lawyers for both the defence and prosecution. The lawyers from each side must
present their respective cases with testimonials from witnesses. The jury must decide on the
verdict and if there is to be a punishment, the judge must decide on what it is.

16
Study Questions
Here are some questions to help students make an analysis of
the Royal Lyceum’s production of The Merchant of Venice.
Describe the set. How were the two different spaces represented? What did the design tell
us about the difference in atmosphere of the environments?

How were the different areas of the set used by the actors?

Describe one male and one female costume. What did the characters’ costumes tell us about
the kind of people they were?

Describe the physical changes in the actor playing Portia when she is in disguise as a male
lawyer. Was she convincing as a male?

What kind of music and sound effects were used? What kind of atmosphere did it make?

Describe the lighting in the two different settings. How did the lighting effect work with the set
to build up an environment?

Choose two characters that had a relationship on stage. What was their relationship like?
Did it change? What did the actors do to show this?

These questions are to help with further study of the play.

Compare the worlds of Venice and Belmont? What is the significance of these distinct settings
in the play?

How does Portia compare to the men around her? Is Bassanio a worthy suitor for her?

Do you think Shylock is simply an evil villain? Or a sympathetic character?

Discuss the relationship between Antonio and Bassanio. What does their friendship reveal
about their characters?

What is the function of the characters Salerio and Salanio?

Discuss how the trial scene reveals a conflict between justice and mercy. Is the conflict resolved?
If so, how?

In the end, how comic is The Merchant of Venice? Does the final act succeed in restoring comedy
to the play?

17
THE

LYCEUM
Royal Lyceum Theatre Edinburgh

Acknowledgements
This pack was researched and compiled by Libby Brown,
Temporary Education Officer

Thanks to Neve McIntosh, Jimmy Chisholm, Gregory Smith

for the photos of the set model and costume sketches,
Emma Cunniffe, and the Royal Lyceum Staff.

Thank you to the Royal Shakespeare Company for the

photographs of Anthony Sher (Reg Wilson © RSC) and
Ian Bartholomew (Hugo Glendinning © RSC) as Shylock.

Designed by Emma Quinn

Photos by Euan Myles

This pack was produced by the Lyceum Education Department

Any part of the pack can be photocopied.

For further information on workshops, events and a back

catalogue of packs please contact 0131 248 4834 or email
us on info@lyceum.org.uk