Commanding performance: Janus Theatre’s streamlined ‘Merchant’ packs a punch and so does its leading lady

“The Merchant of Venice” — 3.5 stars

In his program notes for Janus Theatre’s production of William Shakespeare’s “The Merchant of Venice,” director Sean Hargadon recounts Susan P. Anderson’s audition for the role of Shylock, the Jewish moneylender who provides 3,000 ducats to the titular merchant, who — if he fails to repay the loan — must render Shylock a pound of his flesh.

One of Shakespeare’s most famous and most controversial characters (in one of his most problematic, ever-resonant plays) Shylock is typically played by a man. But in Janus’ streamlined, swift-moving adaptation, the character is commandingly played by Anderson, a Black woman.

“We didn’t set out to do this,” writes Hargadon. “We had many men audition for the part.”

Anderson bested them all. Responding to a question about why she wanted to play the role, she replied: “I live this reality every day of my life.”

Animated by the righteous anger of a woman whose fellow Venetians have long mistreated her, Anderson’s deeply felt performance testifies to that reality. That Anderson is a Black woman broadens the prejudice and systematic oppression underscoring the play beyond antisemitism to encompass racism and misogyny.

“The Merchant of Venice” also examines vengeance and hypocrisy. The former comes in the form of Shylock’s gruesome compensation for the public humiliation and personal and financial losses she suffered at the hands of the merchant Antonio (Dustin Ayers). Loathsome as those crimes are, Antonio’s punishment, which will likely result in his death, exceeds his crimes.

The hypocrisy comes from Venice’s Christian majority — among them Antonio’s friend Bassanio (Aaron Hoge) and their raucous retinue of bros enthusiastically played by Benedict L. Slabik, Alex Wisniewski and Dan Stromquist — that urges Shylock to show mercy and forgive Antonio’s debt, while subsequently refusing to show her similar compassion.

Antonio’s dire straits arise from his generosity to his financially strapped friend Bassanio, who needs money to woo the wealthy Portia (Jennifer Reeves Wilson). Antonio’s loyalty and the risk he takes on Bassanio’s behalf suggests devotion that is more than platonic. (The play’s homoerotic subtext has long been the subject of scholarly debate).

Ultimately, Bassanio wins Portia’s heart while his garrulous companion Gratiano (a swaggering Slabik) wins the heart of her confidant Nerissa (Tiffany Jasinski).

Meanwhile, Shylock’s daughter Jessica (Tessa Dougherty) has eloped with a Christian named Lorenzo (Matt Hellyer), taking her mother’s money and jewels with her.

Reports that Antonio’s ships have been lost at sea spoil everyone’s newly wedded bliss, sending Bassanio and Gratiano back to Antonio, who faces a hearing before the Duke of Venice (Stephen Pickering), where Portia, disguised as a male lawyer, adjudicates Shylock’s claim to her pound of flesh.

Rounding out the able cast is Matt Johnson as Shylock’s disgruntled servant Lancelot Gobbo and Paul Anderson as Shylock’s friend and confidant Tubal.

The well-paced production — Janus’ final show at the Elgin Art Showcase — incorporates some broad physical comedy and audience interaction. More significant is Hargadon’s attention to detail: the subtle touches that reveal Antonio and Bassanio’s affection; Portia’s offhanded stereotyping of her suitors according to their origin; the slights and microaggressions directed toward Dougherty’s newly converted Jessica, whose fleeting expressions register the pain her new Christian friends (unintentionally?) inflict.

Essential to this “Merchant’s” success is Hargadon’s judicious refining of the script down to its fundamentals while maintaining focus on the core issues: bigotry, social justice and the marginalization of the Other. Bravo for that.

One thing more, the production concludes with an original coda by Hargadon, who incorporated dialogue from Shakespeare’s “King John” and “King Lear” into a charged exchange between Tubal and Shylock. Discomforting but authentic, it reflects the ongoing tension bigotry begets.

Hargadon’s coda reminds theatergoers the resolution imposed by the court a few scenes earlier is, at best, provisional. And Venice, like so many communities, remains divided.

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Location: Janus Theatre Company at the Elgin Art Showcase, 164 Division St., Elgin, janusplays.com/

Showtimes: 8 p.m. Friday and Saturday and 2 p.m. Sunday through Nov. 9

Running time: About 95 minutes, no intermission

Tickets: $25

Parking: Street parking, free municipal lots

Rating: For teens and older; antisemitism and suggested violence figure prominently