MERCHANT OF VENICE
Director's Note
During World War II the United States produced propaganda in order to combat the negative publicity being disseminated by the Axis powers. Unfortunately, America resorted to using the same offensive tactics that the enemy used. Insulting and prejudicial ads that reinforced negative stereotypes of “the enemy” were promulgated by both sides. The United States propaganda portrayed racist images of Germans, Italians and the Japanese, hoping to breed fear of the culture and people, not just the Axis governments.
I wanted to set Merchant of Venice in post-WWII Italy because of the extreme circumstances that Europe was living with. War-torn and bombarded by a clear enemy, the Allied forces were fighting for the right ideals and a just cause. But by segregating or alienating a specific sect of any population you breed hate. The cause pursued by idealistic America did not justify the means. In our Merchant I find that Shylock’s ultimate goal of revenge is rooted in the prejudice he experienced. When anyone sits back and allows for discriminationto happen its effects can be devastating. We are all complacent. It does not matter if it is one of our political leaders or the merchant next door. We all are responsible.
“The Secret Theater’s production of The Merchant of Venice, directed by the talented Alberto Bonilla, attempts to add its own flourishes to the story. — This update to the story is handled well, and indeed adds a new dimension, without detracting from the emphasis of the story.”
“Under the direction of Alberto Bonilla, the Secret Theatre’s production brings all of the play’s contradictions to life in sharp detail.”
“Case in point is The Secret Theatre’s terrific new production of The Merchant of Venice — Not only does the company, with the top notch direction of Alberto Bonilla have the temerity to produce Merchant, but they set it during World War II.”
Starring: Zachary Clark, Joy Donze, Richard Mazda, Michael Vincent Carrera, AB Lugo, JB Alexander, Matt Biagini, Grace Merriman, Isabella Curti, Dylan Cote, Tom Harney, and Mike Lee
Set Design by Sandy Yaklin, Lighting Design by Paul T Kennedy, and Production Stage Manager is Michael L. Tosto, and Costumer Anna Winter.