It isn't often one sees Christopher Marlowe's "The Jew of Malta" played somewhat for laughs, but that's exactly what happens in this rather original (and very entertaining) interpretation by Theatre for the New Audience. Running in repertory with "The Merchant of Venice" (reviewed in last week's Epoch Times) both works look at religious prejudice and the damagers of being consumed by revenge.
In Marlowe's tale (circa 1592), the Turks have come to the island of Malta to demand overdue tribute due them. Unwilling to pay the enormous sums, the island's political leaders plot to obtain the money from several wealthy Jewish merchants (Jews being largely considered second class citizens). But when Barabas, (F. Murray Abraham), the title character and the richest among them protests, his estate is confiscated and he's rendered penniless. However Barabas is nothing if nor resourceful, and with the help of his loving and dutiful daughter Abigail (Nicole Lowrance), he soon becomes even wealthier than before.
Barabas next turns to the task of revenging himself on all who had previously wronged him. However his blind desire for vengeance (which often leads to the death of those whose only crime is guilt by association) has him trusting the wrong people and forgetting how he's oft regarded by others not of his faith. Mistakes which may very well cause his downfall.
Dark material to be sure, but director David Herskovits has fashioned the story into a sort of melodrama (with overblown sequences, parody, and the occasional wink at the audience), while at the same time keeping the script's core issues front and center. Abraham, in a delicious role, grabs the stage and holds it as the fascinatingly evil Barabas. Other standouts are Arnie Burton as Barabas' gleeful willing accomplice, and Marc Vietor as the oily Governor of Malta.
Costumes by David Zinn are excellent, as is the fight choreography by J. Steven White. Other than some annoying problems with the staging, which prevented portions of the audience from seeing various actors, this is a first-rate production, complete with one of the most brilliant exit scenes in the history of theater. Also in the cast are Kenajuan Bentley, Cameron Folmar, Kate Forbes, Ezra Knight, John Lavelle, Vince Nappo, Tom Nelis, Saxon Palmer, Matthew Schneck, and Christen Simon.
The Jew of Malta
Presented by Theatre for a New Audience
The Duke on 42nd Street
229 West 42nd Street
Tickets: 212-239-6200 or www.telecharage.com
----
The interesting thing about Harley Granville-Barker's 1909 work "The Madras House," now being given its first New York revival since 1921, is that each of the tale's four acts could be a play in itself as there are enough plots and potential storylines in each to branch off in numerous directions. What we get with the production as it stands is an intelligent, densely-packed, and mostly brilliant look at relations between the sexes.
The title refers to a well-to-do London fashion house and store. About to be sold to an American businessman, the Madras family has gathered to give final approval of the deal. Those present include Philip Madras (Thomas Hammond), heir to the family name and through whose eyes the story unfolds; Henry Huxtable (Jonathan Hogan), Philip's henpecked uncle and father of five unmarried daughters; and Philip's trusted family friend Major Hippisly Thomas (Mark L. Montgomery).
Also present is Philip's father Constantine (George Morfogen) who, nearly 30 years before, having become increasingly distressed with the Western World (in particular its permissive attitude toward women), left England, eventually settling in Saudi Arabia and converting to Mohammadism.
On the surface a story about family, generational and religious values, the piece has at its heart the ever-changing relationship between men and women, and just what a woman's "correct" status should be in society. (Opinions vary on the subject, and not just from men). Just as important, exactly what should be the man's role in all this? No new ground is really covered here, but the script is presented intelligently enough to make the various characters feel quite realistic in terms of both place and time (1910).
Additionally, many of the points of view put forth are quite topical today. The playwright wisely doesn't present any concrete answers to these questions; rather he opens up a frank conversation about the need for understanding, coupled with a few words of warning on how the actions of one generation can directly affect the next. If there's any problem in this nearly three-hour work, it's that there's a bit too much preaching toward the end, as well as a twist that, while believable, seems a bit too convenient in light of what's been seen and said before. The acting is quite good across the boards, as is Gus Kaikkonen's direction and Clint Ramos' costumes.
Also in the cast are Laurie Kennedy, Lisa Bostnar, Mary Bacon, Angela Reed, Allison McLemore, Pamela McVeagh, Roberta Maxwell, Kraig Swartz, and Ross Bickell.
The Madras House
Presented by the Mint Theater Company
The Mint Theater
311 West 43rd Street
Tickets: 212-315-0231 or www.minttheatrer.org
Feeds