July 10, 2010 |
— Al Pacino's Shylock is the talk of New York at the moment, at least when the conversation turns away from the insufferable heat wave. His performance in the Public Theater's production of Shakespeare's "The Merchant of Venice" (running in rep with Michael Greif's staging of "The Winter's Tale") marks a return to form for the actor, who just received an Emmy nomination for his portrayal of Jack Kevorkian in the HBO film "You Don't Know Jack." It's also the most intriguing element in veteran director Daniel Sullivan's handling of a play that is as curiously compelling as it is notoriously troubling.
March 29, 2009
In his profile of Portia de Rossi ["De Rossi on 'Ted' and Ellen and Babies," March 15], Scott Collins writes: "But De Rossi, born 36 years ago in Australia as Amanda Rogers (she chose her stage name -- Portia is the heiress who begs Shylock for mercy in "The Merchant of Venice" -- as a teenager) . . . " I'm not sure if it's been awhile since he read or watched "The Merchant of Venice," but he could just as well have described Portia as "the heiress who cross-dresses as a man in order to act as the lawyer in Shylock's trial and saves the day by hoisting him on his own linguistic petard."
August 9, 2002 |
"This is a waltz," explains our narrator and protagonist, a compulsively wisecracking Lithuanian Jewish immigrant named Matt Friedman, as he prepares us and himself for the giddy, nerve-racking steps of courtship. With disarming, understated eloquence, Matt risks everything in "Talley's Folly," Lanford Wilson's sweetly moving two-character romance set against a backdrop of post-World War II social upheaval.
October 8, 2001 |
Talk about chutzpah. Where other networks and studios have been scurrying to delete movie and TV references to the World Trade Center in an effort to avoid adding to our trauma, A&E kicks off a new series tonight by asking us to wallow in it. Not the Sept. 11 attacks on the New York landmark, but rather the earlier terrorist bombing on Feb. 26, 1993. Yes, that's the subject of the first installment of "Minute by Minute" (10 p.m.
CALIFORNIA | LOCAL
February 2, 2001 |
Shylock was a tough one for actor Gareth Armstrong. While rehearsing the controversial role of the Jewish money lender for an English production of "The Merchant of Venice," Armstrong had trouble finding something in the character to warm up to. "You have to like the character you're playing," Armstrong says, explaining the challenge faced by an actor cast as a villain. "You don't have to think he's right, but you have to find an empathy with him."
October 24, 1997 |
"A Pound of Flesh," writer-director Todd Alcott's new modern-language adaptation of Shakespeare's "The Merchant of Venice," makes a seriously intentioned but uneven debut at the Heliotrope Theatre. Replete with trendy slang ("Portia--there is no substitute") and four-letter expletives, Alcott's most significant accomplishment is nailing the Bard's condemnation of hypocrisy in no uncertain terms.