A Discussion of Trevor Nunn’s Production of ‘The Merchant of Venice’ on Radio Four’s Front

Row with Mark Lawson.

Mark Lawson: In today’s show we will explore the works of a man who has won the London
Critic’s Circle award, the Evening Standard award, the Oliver award and is known as Britain’s
Best Director. We will investigate the reason behind his celebrated award for the production
of Shakespeare’s play, ‘The Merchant of Venice’. Many critics have said that this play is one
of the hardest plays to perform. Why have you chosen this play rather than some more
popular texts?

Trevor Nunn: I think you have answered the question already. It is most definitely one of
the most controversial plays written by Shakespeare, but also one which we can link to
modern day society.

Mark Lawson: You are absolutely right. In today’s society, money and appearances are
valued, and many do not look at what is beneath the skin.

Trevor Nunn: Indeed and due to this fact, this ‘tragi-comedy’ when tackled by talented
actors can expose this.

Mark Lawson: Henry Goodman acted brilliantly when playing Shylock, but that was no
surprise seeing as he has won the London Critic’s Circle award and the Oliver award for Best
Actor.

Trevor Nunn: Yes, Henry Goodman is able to empathise with his character and show the
tragic possibilities in Shylock. The awards are definitely evidence of his exceptional acting
skills. He also acts in such a way, when playing Shylock that it often makes us question
whether or not Shylock is a villain or a victim.

Mark Lawson: Yes, that is very true. Critic Harold Bloom wrote that ‘We never know what
Shakespeare thinks, only what the characters say’. How did you find the meaning to the play
and show it in your production?

Trevor Nunn: Well, many critics have said that this play is very anti-Semitic; others have said
that this play is pro-Jewish. I decided to produce a play which showed both views. At least
we know that the critics have something to agree on now!

Mark Lawson: Identity is one of the main themes in this production, such as the identity of
Jessica after her conversion, and the portrayal of Antonio, in what seems to be, a
homosexual relationship with Bassanio. We can be certain Shakespeare never intended it to
be a homosexual relationship, yet you chose this interpretation. Can you elaborate on this?

Trevor Nunn: Jessica seems to have no identity in this play: she was once a Jew and she will
always be an outsider in Venetian society. The Hebrew lament sung by Jessica shows both
her true identity, when singing it with Shylock, and the realisation of the loss of that identity
when she sings it alone at the end. As to the homosexual relationship, I am sure that
Shakespeare did not present the relationship between Antonio and Bassanio as a
homosexual one, yet to a modern audience, this is a valid interpretation.
Mark Lawson: Yes, Shakespeare perhaps will be turning in his grave right now. Sexism is also
a major issue in this production, especially in the court scene where Portia dresses up as a
male lawyer in order to enter the male world of Venice.

Trevor Nunn: When Portia dresses up as a man, this symbolises her freedom for she is able
act in a way women in the sixteenth century were not expected to do. Even today the Law is
largely dominated by men!

Mark Lawson: All that glisters is not gold, and many critics say that the ending of the play is
not the typical ‘happy ending’ of most Shakespeare comedies.

Trevor Nunn: When Shylock leaves the court after losing his battle this is also the last time
we see him, and also the time when Shylock loses everything, including his identity. Thinking
about this play left me wondering who the real villain and victim are. Shakespeare was
ahead of his time; even now we all search for our true identities.

Mark Lawson: That is very well said but unfortunately that’s all for tonight. So join us again,
same time tomorrow.

639 words, excluding the speakers.