By Alidė Kohlhaas

For the seventh time in its almost 50 year-history, Stratford Festival of Canada has chosen to mount a production of The Merchant of Venice. Originally, the role of Shylock was to have been played by the exuberant Al Waxman, Canada's beloved King of Kensington, who was also known across North America as Lt. Bert Samuel in the TV series, Cagney and Lacey. But fate had different designs on him. Waxman died following surgery to replace a heart valve, and Stratford had to cast around for another suitable actor.

When word came that Paul Soles would take on the task to interpret this difficult role, there were doubts in one's mind. After all, most of us knew him only as a the long-time host of CBC's Take Thirty. But, one need not have worried. Soles, less flamboyant in his public life than the late Waxman, has quietly accumulated an impressive theatrical background, including appearing in a production of Macbeth on Broadway, which featured the formidable Glenda Jackson and Christopher Plummer. Soles gives an outstanding performance as Shylock. He never exaggerates, and so is totally believable both as the villain and the victim in this piece. One can only say 'Bravo.'

Peter Hutt as Antonio, the Merchant of Venice, is a suitable foil for Soles's Shylock. His disdain for the Jewish money lender is equal to that of Shylock's for him. They are rivals in business, yet each needs the other to survive. What one likes about Hutt's Antonio is the manner in which he projects the Merchant's moods, which range from highly confident to deeply melancholy, and lets us feel the conflicts that rule his life.

Lucy Peacock is most refreshing as Portia, the heiress, who is wooed and won by Bassanio (Donald Carrier). The latter's extravagance is the reason why his friend Antonio borrows money from Shylock. Portia inherited her father's money and his wisdom. She solves not only the dilemma of how to keep her husband's hands off  her money, but also preserves Antonio's life by finding the legal loophole that prevents Shylock from receiving the pound of flesh that is rightly his. Peacock has a firm hand on Portia's character and is a joy to watch in this role

One thanks director Richard Monette for refraining from modernize The Merchant of Venice. This current production is clean, aimed, and powerful. Shakespeare spared no one in this play, neither gentile nor Jew, nor the various nationalities of the suitors for Portia's hand. What one found engaging in this production is how Monette clearly defined how the stereotypes of Shakespeare's time are still in existence today without taking on the stance of a preacher.

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