SHYLOCK, THE JEW.

Press, Volume LXI, Issue 18422, 1 July 1925, Page 10

SHYLOCK, THE JEW.

A GREAT INTERPRETATION It is one of the charms of Shakespeare's plays and one cf the manifestations of his genius as a playwright that the characterisation, of so many o: his leading creations may be given different interpretations according to the impressions cf the reader, the ideas of the interpreter, or the current sentiment of the period, without in any way impairing the cogency, harmony, or unity of the play itself. Especially so is this with Shy'.o.k, the Jew, the central character in 'The Merchant of Venice." There have been many Shylocks, and the quality of his character has varied vastly with different exponents. The great Henry Irving made of him a martyr, one deserving not so in::eh reprobation as sympathy, su much so that" the poet Tennyson, on seeing living act the part, uttered the celebrated comment, '"He made me pity Shylo.k too much." What Shakespeare actually intended the character to be can only be surmised from the circumstances cf the period and the reading of the play itself. The Jews at the time the great poet flourished were still regarded as social outcasts? They had but recently emerged from their long Gethsemane of the Middle Ages, and in Shakespeare's time were only at the beginning of that patient struggle for em and pat ion and full civic recognition which in England was not finally completed until the early part of the Victorian era. In the light of the sentiment of the period iCvarJing the Jews when the play was written, Shylpck must have been intended as a characterisation of an inhuman monster, animated partly by avarice, but mainly by savage revenge. There is ample justification) for. that view in the text, and nowhere in the play is there r.n indication that Shyjock was well spoken of anywhere. Tubal, the only other Jew to appear, was non-committal, -»nd in the third act actually twitted Shylock on the loss of his daughter and his ducats. Jessica, the daughter, apart from her action in deserting Shylock and carrying away part of his wealth, testified to his private conduct—"Our house is Hell"—:and to his spirit of revenge. Launcelot, .the servant, left the Jew with alacrity at the first opportunity. It was this view of Shylock as an avaricious and revengeful monster that was followed by Mr Maurice Moscovitch in his interpretation of the character when "The Merchant of Venice" was produced by him and his company last night in the Theatre Royal. Mr Moscovitch, as a Jew, made of Shylock what only a Jew could. It was a brillir.nt piece of characterisation and memorable performance altogether. The repulsiveness of the character was cleverly concealed at the beginning by a suavity of manner of a most portentous nature, and as the plot developed the real savagery of the man found full expression. Miss Jean Robertson's Portia was also an artistic triumph. Portia was one of Shakespeare's most perfect women, a lady of wit, of understanding, of strength, of action, and altogether a character difficult to portray with consistent satisfaction. Miss Robertson rose to th'e occasion .triumphantly, and throughout was all-exceJ-ling. Miss Eileen Sparke as Nerissa entered into the spirit of that roguish little lady and gave.a very agreeable performance. Miss Isobel Wilford as Jessica proved herself .an artist of high worth. ' The Bassanio, as interpreted by Mr William Stack, proved.in every way a proper gentleman. Mr Nat Madison,. who ; took the. part of Launcelot Gobbo, provided plenty. of animation and clowning. All the other characters were in competent hands. The play was 'splendidly mounted. The Venice scene brought together the three prominent features of that enchanting city—the Rialto bridge, Shylock's house, and the big' church near the entrance to the Grand Canal. The Trial Scene and the Garden scene in the last act were also splendid examples of. clever stagecraft. There was a keen attention to detail throughout, and little points which one expected to be omitted were not overlooked. Those "who mistakenly imagine that a Shakespearean play is but "highbrow stuff" will find their impression much changed after witnessing such a play as "The Merchant of Venice," produced by so fine a {company as that now in session. Only two more performances of "The Merchant of A'enicc"'will be given.