"well as a turquoise ring which Shylock had been given by his late wife, Leah. Shylock has Antonio brought before court. At Belmont, Bassanio receives a letter telling him that Antonio has been unable to repay the loan from Shylock. Portia and Bassanio marry, as do Gratiano and Portia's handmaid Nerissa. Bassanio and Gratiano leave for Venice, with money from Portia, to save Antonio's life by offering the money to Shylock. Unknown to Bassanio and Gratiano, Portia sent her servant, Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer, at Padua. The climax of the play takes place"
"When it does, the play argues, Shylock must carry through on the letter of the law or jeopardize the scant legal security of the entire Jewish community. He is, therefore, quite as grateful as Antonio when Portia, as in Shakespeare's play, shows the legal way out. The play received its American premiere on 16 November 1977 at New York's Plymouth Theatre with Joseph Leon as Shylock, Marian Seldes as Shylock's sister Rivka and Roberta Maxwell as Portia. This production had a challenging history in previews on the road, culminating (after the first night out of town in Philadelphia on 8"
"to comprehend mercy. Similarly, it is possible that Shakespeare meant Shylock's forced conversion to Christianity to be a ""happy ending"" for the character, as it 'redeems' Shylock both from his unbelief and his specific sin of wanting to kill Antonio. This reading of the play would certainly fit with the anti-semitic trends present in Elizabethan England. Many modern readers and audiences have read the play as a plea for tolerance, with Shylock as a sympathetic character. Shylock's 'trial' at the end of the play is a mockery of justice, with Portia acting as a judge when she has no real"
"chosen a sympathetic approach to the character; even Booth's father, Junius Brutus Booth, played the role sympathetically. Henry Irving's portrayal of an aristocratic, proud Shylock (first seen at the Lyceum in 1879, with Portia played by Ellen Terry) has been called ""the summit of his career"". Jacob Adler was the most notable of the early 20th century: Adler played the role in Yiddish-language translation, first in Manhattan's Yiddish Theater District in the Lower East Side, and later on Broadway, where, to great acclaim, he performed the role in Yiddish in an otherwise English-language production. Kean and Irving presented a Shylock"
"literature up until the 20th century depicts the Jew as ""a monied, cruel, lecherous, avaricious outsider tolerated only because of his golden hoard"". Many modern readers and theatregoers have read the play as a plea for tolerance, noting that Shylock is a sympathetic character. They cite as evidence that Shylock's ""trial"" at the end of the play is a mockery of justice, with Portia acting as a judge when she has no right to do so. The characters who berated Shylock for dishonesty resort to trickery in order to win. In addition, Shakespeare gives Shylock one of his most eloquent"
"1879, with Portia played by Ellen Terry) has been called ""the summit of his career"". Jacob Adler was the most notable of the early 20th century actors in this role, speaking in Yiddish in an otherwise English-language production. Kean and Irving presented a Shylock justified in wanting his revenge. Adler's Shylock evolved over the years he played the role, first as a stock Shakespearean villain, then as a man whose better nature was overcome by a desire for revenge, and finally as a man who operated not from revenge but from pride. In a 1902 interview with ""Theater"" magazine, Adler"
"the London stage on this occasion. Mien Phelps reopened Sadler's Wells Theatre, under his sole management, on 8 Sept. 1860, Mrs. Young appeared as Rosalind, acting for the first time with Hermann Vezin [q. v. Suppl. II], who appeared as Orlando. She remained with Phelps through the season of 1860–61, adding the parts of Miranda in ""The Tempest"" and Donna Violante in ""The Wonder"" to her repertory. Her chief engagement during 1861 was at the Haymarket Theatre, where on 30 September she played Portia to the Shylock of the American actor Edwin Booth, who then made his first appearance in"
"Italian. However, some Shakespeare scholars say that Shakespeare gets many details of Italian life wrong, including the laws and urban geography of Venice. Kenneth Gross writes that ""the play itself knows nothing about the Venetian ghetto; we get no sense of a legally separate region of Venice where Shylock must dwell."" Scott McCrea describes the setting as ""a nonrealistic Venice"" and the laws invoked by Portia as part of the ""imaginary world of the play"", inconsistent with actual legal practice. Charles Ross points out that Shakespeare's Alien Statute bears little resemblance to any Italian law. For later plays such as"
"production of the same play performed in Manchester by the touring company of Henry Irving, one of the great nineteenth-century Shakespearean impresarios. Mr. Irving played Shylock and Ellen Terry performed as Portia. Payne’s most recognized achievement is his method of staging Elizabethan drama, which he called “modified Elizabethan staging.” Inspired by the founder of the Elizabethan Stage Society, William Poel, Payne’s taste for Elizabethan staging was meant to draw on actual Elizabethan period stages. The basic premise of this method was that an audience member should feel that “he [or she] was sharing in the action—not looking at something outside"
"""The Merchant of Venice"" and ""Othello"" in his 2014 comic novel ""The Serpent of Venice"", in which he makes Portia (from ""The Merchant of Venice"") and Desdemona (from ""Othello"") sisters. All of the characters come from those two plays with the exception of Pocket, the Fool, who comes from Moore's earlier novel based on ""King Lear"". Naomi Alderman's ""The Wolf in the Water"" is a radio-play first broadcast on BBC Radio 3 in 2016. The play continues the story of Shylock's daughter Jessica, who lives in an anti-semitic Venice and practices her Jewish faith in secret. Part of the BBC's"
"of Shakespeare's plays, placing Hazlitt with Schlegel and Coleridge as one of the three most notable Shakespearean critics of the Romantic period. On 26 January 1814, Edmund Kean debuted as Shylock in Shakespeare's ""Merchant of Venice"" at London's Drury Lane theatre. William Hazlitt, drama critic for the ""Morning Chronicle"" since the previous September, was in the audience. He wrote a stunning review, followed by several others applauding (but sometimes censuring) Kean's performances in other Shakespearean tragedies, including ""King Richard II"", ""King Richard III"", ""Hamlet"", ""Macbeth"", ""Romeo and Juliet"", and, what Hazlitt considered the best of Kean's performances, ""Othello"". (These were"
"Samuel Phelps Samuel Phelps (born 13 February 1804, Plymouth Dock (now Devonport), Plymouth, Devon, died 6 November 1878, Anson’s Farm, Coopersale, near Epping, Essex) was an English actor and theatre manager. He is known for his productions of William Shakespeare's plays which were faithful to their original versions, after the derived works by Nahum Tate, Colley Cibber and David Garrick had dominated the stage for over a century. Phelps made his ""début"" as Shylock in London at the Haymarket Theatre in 1837 and appeared under the management of William Charles Macready at the Theatre Royal, Drury Lane, who recognized Phelps"
"Shylock (play) Shylock is an award-winning monologue in one 80-minute act written by Canadian playwright Mark Leiren-Young. It premiered at Bard on the Beach on August 5, 1996, where it was directed by John Juliani and starred popular Canadian radio host, David Berner. Its American debut was in 1998 at Philadelphia’s Walnut Street Theatre where it was directed by Deborah Block, starred William Leach and was “Barrymore Recommended.” It has since been produced at theatres, Shakespeare Festivals and Fringes throughout Canada and the US (including the San Diego Repertory Theatre where it was staged opposite a controversial production of ""The"
"The Merchant of Venice The Merchant of Venice is a 16th-century play written by William Shakespeare in which a merchant in Venice (Antonio) must default on a large loan provided by a Jewish moneylender, Shylock. It is believed to have been written between 1596 and 1599. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is most remembered for its dramatic scenes, and it is best known for Shylock and the famous ""Hath not a Jew eyes?"" speech on humanity. Also notable is Portia's speech about ""the quality of"
"panel above."" In Shakespeare's """"Merchant of Venice"","" considered to be one of the greatest romantic comedies of all time, the villain Shylock was a Jewish moneylender. By the end of the play he is mocked on the streets after his daughter elopes with a Christian. Shylock, then, compulsorily converts to Christianity as a part of a deal gone wrong. This has raised profound implications regarding Shakespeare and antisemitism. During the Middle Ages, the story of Jephonias, the Jew who tried to overturn Mary's funeral bier, changed from his converting to Christianity into his simply having his hands cut off by"
"1877 in ""Richard III""; and in The Lyons ""Mail"". During this time he became lifelong friends with Bram Stoker, who praised him in his review of ""Hamlet"" and thereafter joined Irving as the manager for the company. In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived ""Hamlet"" and produced ""The Merchant of Venice"" (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation"
"1980, she played the role of Portia in the BBC Television Shakespeare production of ""The Merchant of Venice"", opposite Warren Mitchell's Shylock. Jones played Mrs. Dashwood alongside Kate Winslet, Alan Rickman and Emma Thompson in the Academy Award-winning period drama ""Sense and Sensibility"" (1995). Her other notable roles include Mrs. Fairfax in Jane Eyre (1997) Lady Queensbury in ""Wilde"" (1997), Grace Winslow in ""The Winslow Boy"" (1999), Bridget's mother Pam Jones in ""Bridget Jones's Diary"" (2001) and Poppy Pomfrey in ""Harry Potter and the Chamber of Secrets"" (2002), reprising her role in ""Harry Potter and the Half-Blood Prince"" (2009) and"
"made a deal with Shakespeare that they will be exiled to America (""To Thine Own Self"" (Reprise)). She says that they always wanted a new country house and they are getting a house in a new country. Portia then arrives, having escaped the tower. She renounces her father's ideals and joins the Bottoms, Shylock, and Nostradamus in exile. They arrive in America and tell the audience of the new opportunities in the New World (""Finale""). Nick hears about the opening of Shakespeare's new masterpiece, ""Hamlet"", to which Nostradamus replies ""I was this close"". Source: Ghostlight Records released the Original Broadway"
"Shylock and Prospero. He has also toured to over fifty countries and all over the United States with his own one-man show ""Shylock"", in which Shakespeare's principal Jewish character is seen from the viewpoint of Tubal, the Bard's only other male Jewish character and Shylock's only friend in the original play. The play has won awards in New Zealand, Canada, Spain and Germany and been translated into Catalan, Spanish, Italian, French and Russian as well being performed on Dutch television and Romanian radio. As a member of the Royal Shakespeare Company he worked in Stratford and London and has performed"
"his appearances were in classical comedic roles, such as Captain Absolute in a television version of ""The Rivals"" (1970) and Bassanio in William Shakespeare's ""The Merchant of Venice"" (1970) in a National Theatre Company production directed by Jonathan Miller, which also featured Laurence Olivier (as Shylock) and Joan Plowright (as Portia). This was adapted for television in 1973 with the same three leads. Brett joked that, as an actor, he was rarely allowed into the 20th century and ""never"" into the present day. He did, though, appear in a few contemporary guest roles, in a couple of the ITC series"
"Smith, Claire Bloom, Sybil Thorndike, Joan Plowright, Caroline John, Lynn Collins, and Gemma Jones. The character of Portia has had a considerable and long-lived cultural impact. Portia (The Merchant of Venice) Portia is the protagonist of William Shakespeare's ""The Merchant of Venice"". A rich, beautiful, and intelligent heiress of Belmont, she is bound by the lottery set forth in her father's will, which gives potential suitors the chance to choose among three caskets. If he chooses the right casket, he wins Portia's hand in marriage. If he chooses the incorrect casket, he must leave and never seek another woman in"
"Sherlock Holmes (play) Sherlock Holmes is a four-act play by William Gillette and Sir Arthur Conan Doyle, based on Conan Doyle's character Sherlock Holmes. After three previews it premiered on Broadway November 6, 1899, at the Garrick Theatre in New York City. Recognizing the success of his character Sherlock Holmes, Conan Doyle decided to pen a play based on him. American theatrical producer Charles Frohman approached Conan Doyle and requested the rights to Holmes. While nothing came of their association at that time, it did inspire Conan Doyle to pen a five-act play featuring Holmes and Professor Moriarty. Upon reading"
"This was followed by a touring production in 2016. Pryce's daughter performs the role of Jessica (Shylock's daughter) in the production. Since Shakespeare's time, the character's name has become a synonym for loan shark, and as a verb to ""shylock"" means to lend money at exorbitant rates. In addition, the phrase ""pound of flesh"" has also entered the lexicon as slang for a particularly onerous or unpleasant obligation. English society in the Elizabethan era has been described as antisemitic. English Jews had been expelled in 1290; Jews were not allowed to settle in the country until the rule of Oliver"
"with Wilkie in the East and in 1928 travelled to Australia to manage the company's finances. In 1915 they were playing ""Sweet Nell of Old Drury"" with the Nellie Stewart company that toured New Zealand for four months. In 1916 he joined George Marlow's Grand Shakespearean Company playing Shylock in ""The Merchant of Venice"" at ""The Princess"" in Sydney with his wife playing Portia, then ""As You Like It"" at ""The Adelphi"" in Melbourne playing Jaques, both to 'mixed reviews'. and in 1920 formed the Allan Wilkie Shakespearean Company of thirty players who for eight years toured Australia giving around"
"Shylock in William Shakespeare's ""The Merchant of Venice"" and Barabas in Christopher Marlowe's ""The Jew of Malta"". In a series of articles called ""Observer"", first published in 1785, Cumberland created a character named Abraham Abrahams who would later serve as a template for Sheva, the title character in ""The Jew"". In one instalment of ""Observer"", Abrahams is quoted as saying, ""I verily believe the odious character of Shylock has brought little less persecution upon us, poor scattered sons of Abraham, than the Inquisition itself."" A decade later, in writing ""The Jew"", Cumberland sought to create a positive image of a"
"Shakespeare used cross-dressing in his performances. Over the centuries some readers have posited that Shakespeare's sonnets are autobiographical, and point to them as evidence of his love for a young man. With this said, Shakespeare had characters in his writings that were considered cross-dressers. The four of the five main female characters in his plays were seen as women who cross-dress as men or boys: Cleopatra in Antony and Cleopatra, Portia in The Merchant of Venice, Rosalind in As You Like It, Viola in Twelfth Night. Genderfucking is seen through many forms of life. One of these forms is drag."
"a fellow merchant money. The merchant’s ships sink, yet despite this loss, Shylock demands his money back. His defiant nature supposedly stems from a desire to avenge the unfair treatment of his Jewish people by Christians. Shylock is ultimately humiliated by the Christian court, his daughter disobeys him and marries out of race, and he is swindled out of his bond and forced to convert. At the time it was written, in 16th-century Venice, Jewish citizens were locked in the ghetto at nighttime and were forced to wear identifying hats during the day. Actor Jon Davies asserts that Shakespeare intended"
"movies, Weber became ""one of the first directors to come to the attention of the censors"". That year, Weber co-directed an adaptation of Shakespeare's ""The Merchant of Venice"" with Smalley, who also played Shylock. making her the first American woman to direct a feature-length film in the United States, and the first person who ""directed the first feature-length Shakespearean comedy"". In February 1914, Universal released the four-reel Rex silent film which was also adapted by Weber and Smalley, and was also produced, directed, and starred Weber as Portia, and Smalley as Shylock. The film featured Douglas Gerrard, Rupert Julian, and"
"English drama include the Jewish moneylender Shylock in William Shakespeare's ""The Merchant of Venice"" (1598) and the title character of Ben Jonson's ""Volpone"" (1606). In Aubrey Beardsley's title page for the latter, Volpone is shown worshiping his possessions, in illustration of the lines from the play, ""Dear Saint, / Riches, the dumb god that giv'st all men tongues."" A similar scene takes place in the second act of Alexander Pushkin's short tragedy ""Skupoi rytsar"" (1836). This concerns a son, Albert, kept short of funds by his father, the Baron. Under the title The Miserly Knight, it was made an opera"
"a wife and fifteen children. Some scholars believe that Lok's name was the inspiration of the name of Shylock, the moneylender from Shakespeare's ""The Merchant of Venice"" (c. 1596–99). The prefix ""shy""- indicated ""disreputable"" or ""untrustworthy"", as in ""shyster."" This claim is particularly popular among ""Oxfordians"" who claim that Edward de Vere, 17th Earl of Oxford was the real author of the plays, as de Vere lost 3,000 pounds invested with Lok; in the play, the amount borrowed from Shylock is 3,000 ducats. Michael Lok Michael Lok, also Michael Locke, (c.1532 – c.1621) was an English merchant and traveller, and"
"illustration of the subtlety of Shakespeare's characterisations. In the trial Shylock represents what Elizabethan Christians believed to be the Jewish desire for ""justice"", contrasted with their obviously superior Christian value of mercy. The Christians in the courtroom urge Shylock to love his enemies, although they themselves have failed in the past. Jewish critic Harold Bloom suggests that, although the play gives merit to both cases, the portraits are not even-handed: ""Shylock's shrewd indictment of Christian hypocrisy delights us, but … Shakespeare’s intimations do not alleviate the savagery of his portrait of the Jew…"" Antonio's unexplained depression – ""In sooth I"
"a co-operative company of actors. They claimed to play ""any time anywhere"", in Welsh miners' halls, schools, universities, once in a garage, in a hospital, in converted stables, in the crypt of St Paul's cathedral, and in East End air-raid shelters. The Pilgrim Players were then incorporated into the Rock Theatre Company, in which Spalding and her husband, Terence O'Brien, both became leading actors and directors. Their performances were acclaimed in glowing terms in the press when Ruth played Ophelia in ""Hamlet"" and Portia in ""The Merchant of Venice"", and her husband Shylock, Macbeth and Malvolio. They acted in the"
"Shylock's line's adherence to the Jewish faith. Literary critics have historically viewed the character negatively, highlighting her theft of her father's gold, her betrayal of his trust, and apparently selfish motivations and aimless behaviour. Since the end of the 20th century their views have been more moderate and nuanced, pointing to an alternate reading that allows her actions to be motivated by love and generosity, and being driven by Shylock's own tyrannical and immoral behaviour. The central plot of ""The Merchant of Venice"" is relatively straightforward: Antonio borrows money from Shylock to help his friend, Bassanio, court Portia, but, through"