Pickering College - Voyageur Yearbook (Newmarket, Ontario Canada)

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DRAMATICS - Merchant of Venice To commemorate the four-hundredth anniversary of Shakespeare's birth and to inaugurate the new stage built lastsummer,the Dramatic Club of Pickering College presented the immortal bard's popular comedy i'The Merchant of Venice . The theme and story of the play are well known, undoubtedly highlighted by the famous personage of Shylock, the shrewd, money-mad, usurer of Venice. Since Shylock is a Jew, false charges of prejudice have often been levelled against Shakespeare. This is not fair as Shylock is reallyjustatype, a victim of his peculiar environment. The play, however, is saved from degenerating into a mere morality play by the inclusion of the casket story around which a delicate and delicious love story is woven which also includes the Jew's beautiful daughter. Hence, the actors have two themes upon which to work and these, in turn, serve as vehicles for the expression of their acting abilities. This year we were treated to some of the finest acting talent ever to have been witnessed at Pickering College. Much of the play sparkled and shone owing to the accomplished performances by many of the cast. First honours must go to Bob Grande for his absolutely tremendous portrayal of Shylock. Never once did Grande falter or miscue. By the time the play opened on the first evening, Grande had perfected the part to suit his own considerable acting talents. He had the speech, the manners fespecially the rubbing of the fingers of one handy, the appearance, and the demeanour of the character. He was always the shrewd, grasping, demanding money- lender,everwatchfulofhis cherished fortune and ever watchful of an oppor- tunity toincreaseit and, at the same time, to strike a blow at the miserable Christians. Really, words fail one in attempting to describe the vigour, vitality, discipline and emotional temper which Grande exuded in handling his role. It was a superb performance. Ninetee

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Bassanio, the chief lover in the play, was taken by Peter Stephens, an old hand in Pickering dramatic performances. Stephens has greatly im- proved overthe years, showing more maturity and ease on stage. Sometimes thelight-hearted note of a romantic was missing from his speeches and act- ing but in most instances he gave an excellent accounting of himself. Antonio and Gratiano, Bassanio's two companions, were played by Peter Alrnquist and Hugh Gilbert. Other male parts were taken by Allan Earle, John Grimes and Walter Griffin who were very good in their parts, while thearistocratic suitors were portrayed by Lepofsky and Doug Vaisey. The latter was Oh! so haughtyn. The noble Duke of Venice was played by Tom Bustinduy who might have been more majestic and lordly without the huge moustache which seemed to inhibit his speech. Bustinduy doubled in the part of Old Gobbo and Harry Huriy made an admirable Tubal. Itis no exaggeration to say that Howard Isaacs literally held the audi- encein the palm of his hand as he played the role of the little servant boy, Launcelot Gobbo. Isaac's performance was one of the highlights of the evening. He possesses that rare quality of stage presence. He captivated us from the very beginning with his display of wit, playfulness and good cheer. He added a lyric quality to the part which is so rarely seen. He and Grande easily produced the best performances of the evening. As usual with Pickering College productions, the female parts were taken by delightful young women from Newmarket High School. This year they gave us a lovely Portia. Jill Pemberton was the very incarnation of the leading lady with her golden hair and pink and white complexion. She has fine acting ability which should, be developed and used more often. Similarly, Wendy Caradonna looked and acted as one would expect Jessica to do. Her voice had the deepness of tone and quietness that is associated with the lovely Jewess. The other female part, that of the maid Nerissa, was played by Caroline Back. Indeed, one could not fail to mention the very beautiful and colourful Costumes used in the play. Venice itself, of course, is an extremely colour- ful city and the use of these clothes and other decorations certainly crea- ted a Venetian atmosphere for the large new stage which was so expertly utilized by both players and designers. The set, designed by Mr. John Taylor, was extremely effective in its simplicity and starkness. It was easily converted into a number of uses in a very genuine manner. The other technical aspects of the production, especially make-up and lighting, handled by Mr. A.H. Jewell and David Newcome respectively, were exe- cuted with expertness. Mr. Lundgren did an admirable piece of work with his young thespians and, in the tired but true words, is to be heartily congratulated for his excellent results. It was truly a wonderful and stimu- lating experience for both actors and audience. -Judson D. Purdy. Twenty-one