Juliet, Naked

Juliet, Naked Predictably, I overheard a moviegoer say to the ticket-seller, “I’d like to see Juliet, Naked.” You should see it too (trailer)! Nick Hornby’s novel has been turned into a highly entertaining romantic comedy directed by Jesse Peretz. The strong script is by Evgenia Peretz, Jim Taylor, and Tamara Jenkins.

The story starts with an awkward website video, in which Duncan (played to hilarious effect by Chris O’Dowd) rattles on about obscure American rocker Tucker Crowe, who has not been seen in decades, much less produced any new music. Duncan lives with Annie (the delectable Rose Byrne), who runs a small museum in a seaside British town. The museum’s biggest attraction is a shark’s eyeball, bobbing in formaldehyde.

To the dismay of  megafan Duncan, Annie doesn’t especially appreciate Tucker Crowe, nor how his music has taken over their listening and the mystery of his disappearance their conversation. Like anyone obsessed with in a very small slice of life’s enormous pizza, Duncan is tedious in the extreme. (Juliet, Naked is an album title, I think.)

When Annie posts a few of her less flattering thoughts about Tucker Crowe on Duncan’s website, Crowe himself (Ethan Hawke) responds. To her surprise, he agrees with her, and they begin a secret trans-Atlantic email correspondence. The two have great charm together, playing off each other and admitting their shortcomings. They’re neither one perfect and able to admit it.

Crowe is living in the center of the United States, somewhere, in a garage lent him by his ex-wife, and taking part-time care of their young son Jackson (Azhy Robertson). We soon learn another woman is the mother of his grown daughter, who’s now pregnant, and he has twin boys by yet another. He’s barely in touch with these children and totally out of touch with the daughter of his first love, Juliet.

Perhaps it’s the pseudo-anonymity of email that encourages him to speak to Annie. When he has a trip to London, the face-to-face is awkward. It might be the beginning of a relationship, but there are a lot of kids and partners in the way.

What I loved about this movie, in addition to the fine acting, is that the situation avoids the typical Hollywood relationship clichés (which the movie Puzzle fell prey to, disappointingly), and strives for honesty.

Rotten Tomatoes critics’ rating: 80%; audiences: 90%.

P.S. I love the crazy job titles that turn up in movie credits. In this one: “Petty cash buyer.”

Puzzle

Puzzle, Kelly McDonald, Irrfan KhanWhile you can’t fault the acting in this new Marc Turtletaub rom-com, written by Oren Moverman, it contains few surprises (trailer). All the typical Hollywood assumptions about relations between men and women are on display, along with filmmakers’ strange notions about how ordinary people in relationships or financial turmoil actually behave.

Agnes (played by Kelly Macdonald), has been married a couple of decades to Louie (David Denman), who owns an auto repair shop, and they have two sons, the unhappy Ziggy (Bubba Weiler) and his younger brother Gabe (Austin Abrams), who’s planning to go to college and is in love. Agnes isn’t happy and she isn’t unhappy; she’s in a disappointed stasis.

They live in one of the Connecticut suburbs of New York—Bridgeport, I think. They don’t travel, not even into the city. (It’s a cinch she doesn’t have a passport, the significance of which I won’t explain.) If they have a vacation, they go to their cottage on the lake. The adults’ attitudes about sex-roles predate the Eisenhower Administration—as does Agnes’s wardrobe—though they are only in their forties now. In short, the premise seems dated. Not that there aren’t still people with old-fashioned ideas and lives, but we’ve seen that movie.

Agnes is aware that, while she engages in an endless round of housekeeping, meal preparation, and church lady functions, life is passing her by. A poignant moment occurs early when she decorates the house for a birthday party, serves the food and cleans up, and brings out the huge chocolate-frosted cake she’s made so people can sing happy birthday—to her. The only pastime she truly enjoys is working jigsaw puzzles, and she’s a whiz at it.

One day she sees an ad from a person seeking a puzzle partner. She contacts him and, in a move that surprises even herself, takes the commuter train into New York to meet him. Robert (Irrfan Khan) tries her out and is amazed, and they practice two days a week, aiming for the forthcoming national championships.

Louie would object to her spending a day in the city (“Where’s my dinner?”) so she lies about it. That seems out of character, as do a number of her subsequent actions. Meanwhile, her puzzle partner Robert is the only man who takes an interest in her interior life or even supposes she has one. She is like someone dying of thirst offered a glass of water. You’ve guessed the rest.

Denman’s portrayal of Louie, who may have been conceived as a cardboard anti-feminist, is so sympathetic that he actually doesn’t come off as a bad guy.

I was sorry I didn’t like this movie as much as the critics do because I love jigsaw puzzles myself, and what the movie says about the mental process of working on them seemed to me exactly right. They make order out of chaos, when what Agnes is doing is, at least for a time, the exact opposite.

Rotten Tomatoes critics rating: 82%; audiences: 78%.

*****Juliet and Romeo

Verona

photo: Lo Scaligero, creative commons license

By David Hewson – Violent gangs roaming city streets looking for trouble, murder, illicit love, poisoning, suicide, and what amounts to the sale of a human being, these are the crime elements of thriller writer David Hewson’s latest reimagining of one of Shakespeare’s works. I’m not talking about one of the Bard’s tales of the murder of kings or caesars, but a story more often thought of as the pinnacle of romance, Romeo and Juliet.

Hewson’s is a wonderfully readable and entertaining recasting of a story that itself was reconceived several times before Shakespeare took his turn with it. According to an author’s note, the fundamental story appeared in a volume published in 1476, which a Venetian writer adapted in 1531, with a subsequent version in 1562 that was translated into French, then into a poem in English, which was the version Shakespeare used in creating the play, published in 1597.

In the spirit of a story that has repeatedly evolved to fit its time, Hewson has changed some things. Most notable is the ending, which may give purists fits, but the author says, “that’s what adaptation entails.” Juliet comes first in the title, because, with Hewson’s shifted emphasis, it’s her story. She’s a self-actualized, practical young woman, while Romeo is a dreamer, a little fuzzy around the edges. She knows what she wants and it is definitely not the forced marriage to the older Count Paris that her father has in mind. “So that’s the role Count Paris will perform,” Juliet challenges her father. “Not so much my husband as your proxy son. I marry him because it’s good for business.”

In addition to immersing himself in Shakespeare’s plays, Hewson comes to this project with a solid understanding of Italian culture, reflected in the contemporary crime stories he sets in Italy. The book is a full novel rework of an award-winning audio project he did with Richard Armitage, who narrated Hewson’s exciting version of Hamlet.

Clearing out the underbrush of Elizabethan-era language and putting more modern words in the characters’ mouths creates a refreshing experience. Hewson’s brilliant adaptations Macbeth: A Novel and Hamlet, Prince of Denmark: A Novel, written in collaboration with Shakespeare scholar A.J. Hartley, prepared Hewson to penetrate to the core of Shakespeare’s characters and situations, making the familiar new again. Read and enjoy!

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Oscar-Ready? The Long & the Short of It: Call Me by Your Name & the Live-Action Shorts

Call Me by Your Name

Call Me by Your Name

Timothée Chalamet & Armie Hammer

This languorous film based on James Ivory’s adaptation of a novel by André Aciman and directed by Luc Guadagnino (trailer) conjures all the steamy possibilities of youth in summertime. The drowsily buzzing flies, lying in tall grass whose sun-baked scent practically wafts over the audience, the lure of the river’s cool and limpid water, outdoor dinners on the patio. Guadagnino makes best use of his setting “somewhere in northern Italy.”

Timothée Chalamet has received well-deserved raves for his portrayal of Elio Perlman, the 17-year-old son of two intellectuals (played by Michael Stuhlbarg and Amira Casar). He beautifully portrays the confusions of late adolescence, diffidence alternating with aggression, the attraction both to Parisian Marzia (Esther Garrel) and, more strongly, to his father’s summer intern Oliver (Armie Hammer). He also plays the piano with bravura skill. “Is there anything you can’t do?” Oliver asks him and the same question might be put to Chalamet. All the music works, from Chalamet’s playing, to the soundtrack, to dance tunes broadcast on tinny car radios.

The attraction between Elio and Oliver is immediate, but builds slowly, and when they finally do reveal how they feel, “the moment makes you hold your breath with its intimate power,” says Christy Lemire for RogerEbert.com, “and the emotions feel completely authentic and earned.” And from there, to a final few days together, their emotional strength symbolized, perhaps, by the shift from the still waters of the swimming hole to crashing mountain waterfalls. Elio’s father is given an excellent, warmhearted speech to his son about the value of powerful feelings, even wretched ones.

Rotten Tomatoes critics rating: 96%; audiences, 86%.

LIVE-ACTION SHORTS
The five Oscar-nominated live action shorts this year have a “ripped from the headlines” feeling,  with three of them based on real events. ShortsTV has trailers for all five.

DeKalb Elementary, by U.S. filmmaker Reed Van Dyk came with a trigger warning. It shows a white shooter entering a school and how the black receptionist, through a combination of kindness and cunning, has to try to talk him out of carrying out either violence against the children or suicide-by-cop. Inspired by a 2013 incident in Georgia. (20 minutes)

With The Silent Child, U.K. filmmakers Chris Overton and Rachel Shenton make the case for teaching deaf children sign language, using the story of a sweet young girl whose parents expect her only to lipread. She comes out of her shell when she’s tutored by a sensitive aide. (20 minutes)

My Nephew Emmett recounts the tragic story of Emmett Till, the 14-year-old black child from Chicago murdered in Mississippi in 1955 after somehow offending a white woman. Though the story is a touchstone of Civil Rights outrage, U.S. filmmaker Kevin Wilson, Jr., gives it fresh interest by telling it from the uncle’s point of view. (20 minutes)

The Eleven o’Clock is a hilarious demonstration of confused communication. A psychiatrist, waiting for his new patient, knows only that the man believes he too is a psychiatrist. The encounter between the two of them, each trying to establish clinical control, is cleverly constructed by Australian filmmakers Derin Seale and Josh Lawson. (13 minutes)

In Watu Wote/All of Us, also based on a real episode, German filmmakers Katja Benrath and Tobias Rosen show a Christian woman’s uneasy interactions with her Muslim fellow-passengers on a long busride through the Kenyan countryside. Then the bus is stopped by well-armed Islamic militants bent on murdering non-Muslims. (22 minutes)

Try to see some of these excellent short films!

Award-Nominated Movies: The Shape of Water & The Greatest Showman

Shape of WaterThe Shape of Water
The acting alone is a good reason to see writer-director Guillermo del Toro’s romantic fantasy (trailer), written with Vanessa Taylor, although the origins of the story are now in dispute. The film received 13 Academy Award nominations, the most for any 2017 movie, including best picture, writing, directing, best actress, best supporting actor and actress (Jenkins and Spencer), cinematography, and costumes.

Elisa Esposito (played by Sally Hawkins, who was terrific last year in Maudie) plays a mute young woman who, with her friend Zelda (Octavia Spencer), is a cleaner at a sketchy 1960s military research facility. The researchers bring in a merman-like creature (the unrecognizable Doug Jones) found in the Amazon, whom they mistreat, believing him violent, but whom Elisa befriends. If you’ve seen the previews, you get the idea.

Playing the heavy is a furious Michael Shannon,  Elisa’s neighbor and friend is Richard Jenkins, and a scientist more interested in saving the “monster” than killing him is Michael Stuhlbarg. All three are super!

Even if you aren’t a fantasy fan, there’s lots of drama and a warm core to this film you may enjoy. I did. As “an enchanting reimagining of ‘Beauty and the Beast,’ it is an unforgettably romantic, utterly sublime, dazzling phantasmagoria,” said Colin Covert, reviewer for the Minneapolis Star Tribune.

Rotten Tomatoes critics’ rating: 92%; audiences, 78%.

Greatest Showman The Greatest Showman
By contrast, this movie musical of the P.T. Barnum story (trailer) directed by Michael Gracey disappointed, especially because the songs were by Benj Pasek and Justin Paul (fellow U-Mich grads!) who wrote lyrics for La La Land and music and lyrics for the Tony-winning Broadway hit, Dear Evan Hansen.

Talented Hugh Jackman (as Barnum) sells it, but there’s little “it” there. He apparently wanted to do Barnum’s story for some time, but couldn’t get backing. Although the film received three Golden Globe nominations (best musical or comedy, best actor in a musical or comedy for Jackman) and won for best song (Pasek and Paul), Oscar took a pass.

You may enjoy the movie’s spectacle aspects, but it will require you to pause your brain. Plot holes make it hard to stay interested in the story, which is in part Barnum’s highly fictionalized career and in part the love story between him and his wife (nicely played by Michelle Williams).

OK, it’s a musical, so it’s the musical numbers that should shine. The pop-music songs were just bearable until Barnum met The Swedish Nightingale, Jenny Lind (Rebecca Ferguson). She has an eye-roller of a pop number (lip-synced, by the way; the real singer is Loren Allred), so contrary to how an internationally famous singer in 1850 would have sounded that the artifice of the whole production collapses under its own absurdity. As San Francisco Chronicle reviewer Mick LaSalle wrote, “It’s an awful mess, but it’s flashy,” calling it “The perfect realization of a really bad idea.”

Rotten Tomatoes critics rating: 55%; audiences: 89%.

Shakespeare in Love

Perhaps you remember remember the charming 1998 movie, Shakespeare in Love, starring Joseph Fiennes and Gwyneth Paltrow. Lee Hall—best known for Billy Elliott—has transformed Marc Norman and Tom Stoppard’s screenplay into a theatrical version, on stage at the Shakespeare Theatre of New Jersey through November 12. STNJ’s artistic director Bonnie J. Monte directed this lively production, which she describes as “a perfectly ebullient homage to Shakespeare, to life, to love, to the art of theatre, to the centuries of players who inhabit our stages, and to the process of creating art . . . a delight from beginning to end.”

Will Shakespeare (played by Jon Barker) is having trouble finding the right words for a sonnet, and is helped by his friend, fellow playwright, and competitor Kit Marlowe (Anthony Marble). Will encounters the enchanting young Viola de Lesseps (Whitney Maris Brown) and Marlowe again feeds him the words he needs to entrance her.

Viola, on the cusp of marriage, is smitten with the stage and, disguised as a man, tries out for Shakespeare’s new barely-begun play, and is tapped for the part of Romeo. With Viola as his muse, the Bard’s writing takes off. It being forbidden for women to appear on stage at the time, the lovers are in risky territory, not least because Viola’s fiancé (Marcus Dean Fuller) believes Something is Up.

The perils of casting, the comedic antics of rehearsals, the wiles of Viola’s nurse (Erika Rolfsrud), and the parallels between the evolving play and obstacles to the lovers keep the action moving in about a dozen directions at once. A fine—and large—supporting cast, especially noting Ames Adamson, Edmond Genest, Garrett Lawson, and David Andrew Macdonald, plays about forty roles! Spot, (Boston Terrier Dublin Delancy McFinnigan) makes his bone-afide theatrical debut, well trained by Seamus Mulcahy (playing John Webster). (Mulcahy has produced a DVD of dogs performing Shakespeare. A niche product in so many ways.)

Jon Barker and Whitney Maris Brown generate considerable heat in their lovely scenes together. Barker is a frequent STNJ cast member and has a gift for achieving perfect body language and gestures in any role, including this one.

Mention should be made of the energetic and entertaining way the cast pitches in with the set dressing for the numerous scene changes. Brian Clinnin’s deceptively simple-looking scenic design lends itself to transformations from lowly tavern to royal theater box to boat on the Thames.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

A Midsummer Night’s Dream

A Midsummer Night's Dream

Austin Blunk, Courtney McGowan, & Vanessa Morosco; photo: Jerry Dalia

This staple of outdoor summer stages—Shakespeare’s most frequently performed play—is on view in a delightful production from The Shakespeare Theatre of New Jersey through July 30. STNJ’s annual outdoor productions are performed in the beautiful Greek amphitheatre of the College of Saint Elizabeth in Florham Park, N.J. (take cushions).

STNJ artistic director Bonnie Monte directed the production, and she must have had a very precise idea in mind, because she served as the set and costume designer as well, inspired perhaps by Shakespeare’s own words in the play:

“I have had a most rare vision. I have had a dream,
past the wit of man to say what dream it was.”

A Midsummer Night's Dream - 2

Felix Mayes; photo: Jerry Dalia

The sets on the outdoor stage are always fairly simple, but the costumes were knock-your-socks off. Creative recycling was the theme, with iridescent CD’s forming a glittering backdrop for both the forest outside Athens—the fairy world—and a scaly cape for fairy queen Titania. Puck was gleefully porcupinish with headgear and epaulets sprouting colorful chopsticks? pens? A bathtub was filled with wine corks. More than thirty individuals and families received recognition in the program for aid in collecting the hundreds of “items of refuse” that went into the production. This made sense, actually, fairies being notorious pilferers.

We went to a matinee where numerous children were in the audience—an outdoor theater is one venue where sitting still and silent in your seat is not an absolute requirement, particularly for a comedy. Some of the complicated plot—the two sets of characters, the two sets of lovers, the play-within-a-play—may have been difficult for the youngest audience members to follow precisely, but there was such effective physical comedy and so many hilarious touches, like the performance of Ian Hersey as the ass, Bottom, they stuck with it happily.

The cast had many suitably antic performances, including the aforementioned Hersey and Felix Mayes as Puck, Courtney McGowen as Lion, Vanessa Morosco as Titania, and all of the fancifully costumed fairies.

STNJ produces an excellent KnowTheShow guide. Call box office for tickets (973-408-5600) or email: BoxOffice@ShakespeareNJ.org

The Big Sick

The Big Sick, Kumail Nanjiani, Zoe Kazan  The Big Sick is loosely based on the real-life romance between comedian Kumail Nanjiani and his wife, Emily V. Gordon, who together wrote the script. Directed by Princeton native Michael Showalter (trailer), it puts fresh juice into the romcom genre.

Kumail’s family moved from Pakistan to the Chicago area when he was a child, in part to give him a better life. What they gave him was an American life. While his parents (played by Zenobia Shroff and Anupam Kher) expect religious devotion,  marriage to a Pakistani girl, and a professional career, he’s become perhaps too assimilated—secular, uninterested in an arranged marriage with any of the beautiful but traditional young women his mother parades before him, and a part-time Uber driver focused on developing his skills as a stand-up comic. At the downscale comedy club where he works he meets graduate student Emily (Zoe Kazan), and the two of them hit it off. Really well.

Ultimately, though, if he marries a woman who’s not Pakistani, he knows his family will disown him. When Emily at length senses the problem, she asks, “Can you envision a future where the two of us are together?” He can’t say it, but he shakes his head, and she breaks off the relationship.

Kumail finds out Emily has developed a mysterious illness and is hospitalized with cascading medical complications. He goes to visit her and ends up signing papers allowing the doctors to put her in a medically induced coma. Now he’s responsible, and he cannot leave her bedside. Her frantic parents (played to perfection by Ray Romano and Holly Hunter) arrive from North Carolina. Aware of the unhappy break-up, they are not very friendly, and now Kumail must deal with them too. And his wobbly career.

Nanjiani does a terrific job as himself (much harder than it might seem). He occasionally reminds me of Bill Murray, in the way he has of being acutely observant and still, as if thinking, “Ok, I’m smiling, but would somebody please tell me what the hell’s going on here?!!?”

The acting all around is warm-hearted and true. Particularly enjoyable are the other comics (Bo Burnham, Aidy Bryant, and Kurt Braunohler) jabbing each other mercilessly. They’re all experienced, well-regarded comedians IRL, and kudos to Braunohler for taking the role of a somewhat dim guy who the others decide is really not that funny.

It’s sweet, you’ll laugh, and it has a rewarding core of truth.

Rotten Tomatoes critics’ rating: 97%; Audiences: 92%.

The Bungler

The Bungler, Shakespeare Theatre of New Jersey

Kevin Isola & James Michael Reilly; photo by Jerry Dalia

Molière’s classic, but infrequently produced comedy about a lovelorn swain and his wily servant premiered July 8 at the Shakespeare Theatre of New Jersey and is on stage through July 30. The theater’s promotion promises that “if laughter is good medicine, then this show will cure all ills,” and the production directed by Brian B. Crowe leaves the audience well-healed.

Adhering to the strict requirements and principles of French Neoclassicism, Molière’s first full-length play has a single plot that takes place in one setting, in a compressed time span. His characters reflect the conventions of their class (the principle of decorum) and their actions and attitudes are real, probable, and (mostly) believable (the principle of verisimilitude). Molière stretches those rigid rules, established by the redoubtable Cardinal Richelieu, as much as he can through the introduction of elements of Italian Commedia dell’Arte. Many of The Bungler’s characters typify that tradition.

In Messina, Sicily, the young Lélie (played by Aaron McDaniel) falls for a servant, a ravishing gypsy girl (Sophia Blum). Upper-class, but without financial prospects, he must contrive a way to free her from her curmudgeonly master (Eric Hoffman). Alas, Lélie is not very bright, and relies on his valet Mascarille (a classic harlequin, played by Kevin Isola) to develop some ingenious plan. Complicating the valet’s stratagems are a formidable romantic rival (Sam Ashdown), Lélie’s upstanding father (Drew Dix), a money lender who could help out, wants to, then . . . (James Michael Reilly), and his glamorous daughter (Devin Conway).

All of these fine players (and others) eventually figure in Mascarille’s clever stratagems, none of which are understood by Lélie, who at every turn foils certain victory. Although there is only one plot in the play (as required by Cardinal Richelieu’s rules), Molière finds ever-more imaginative ways to set up and carry out the joke, which left the audience laughing uproariously in both anticipation and execution.

Director Crowe keeps the action moving, thanks to his skilled players’ exquisite timing and aided greatly by the many talents of Isola as Mascarille for both physical comedy and the on-point delivery of a line. McDaniel as Lélie, the perpetually confused yet inexplicably confident suitor, is a picture of bafflement. The set design by Dick Block is like a trip to the candy store, and Paul Canada’s costumes are beyond beautiful.

The Bungler, Shakespeare Theatre of New Jersey

Sophia Blum, Kevin Isola, & Aaron McDaniel; photo: Jerry Dalia

The STNJ used a translation of The Bungler by Richard Wilbur, the nation’s second poet laureate. Wilbur has won numerous awards for his translations, as well as his own work. The brilliance of his achievement is evidenced by the fact that, although the dialog

proceeds in couplets throughout, this device never becomes tiresome. Instead, it repeatedly delights with its freshness.

Shakespeare Theatre of New Jersey produces an excellent know-the-show guide for each production. Performances are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

On Stage: The Merchant of Venice

Merchant of Venice

Rachel Towne as Nerissa (left) & Melissa Miller as Portia; photo: Jerry Dalia.

The Shakespeare Theatre of New Jersey opens its 2017 season with Shakespeare’s dark comedy, The Merchant of Venice, about, as the theater describes it “A money-obsessed, patriarchal, dysfunctional society where wealth bestows power; one in which women cannot determine their own fate, and one marked by religious and racial prejudice.” Hmm. This production, which opened Saturday night, May 20, runs through June 4, and is directed by award-winning actor Robert Cuccioli.

Perhaps this play is not often performed because modern playgoers (and producers) are uncomfortable with its blatant anti-Semitism. Such views persisted in England, of course, through the eras of Dickens, Disraeli, Holocaust denial, and may even be again on the rise. It’s talking about them that’s so uncomfortable. Cuccioli, the cast, and the theater deserve praise for not soft-pedaling the ugliness of racial hatred. Shylock (Andrew Weems) is as intransigent in his demands as his foes expect him to be.

The gist of the story, you may recall, is that prominent Venetian merchant Antonio (Brent Harris), loans his friend Bassanio (John Keabler) money so he can woo the estimable Portia (Melissa Miller). Convinced several of his ships will soon arrive and refill his coffers, Antonio borrows the needed sum from his old adversary, Shylock, and agrees to the whimsical idea that, if he cannot repay the debt, he’ll let the Jew take a pound of his flesh.

When Antonio’s ships are lost, Shylock invokes that clause. Portia, disguised as a learned young judge, argues the case to save Antonio (“The quality of mercy is not strain’d, it droppeth as the gentle rain from heaven upon the place beneath”) , aided by her maidservant Nerissa (Rachel Towne), her pretended law clerk.

That part of the story has all the makings of tragedy, certainly high drama. The comedy comes from the suitors for Portia’s hand, made to choose among caskets of gold, silver, and lead, only one of which holds her portrait and her promise to marry. With great shows of manly confidence, they uniformly guess wrong, until Bassanio . . . you can guess the rest. Portia and Nerissa tease their men mercilessly, but not so frivolously as to form too great a contrast with the blacker heart of the play, the downfall of Shylock.

Weems, Harris, and Miller give especially strong and moving performances. However, the entire cast does an admirable job keeping the action going and creating interesting, compelling characters. They’re believably outraged at Shylock and charmed by Portia and Nerissa. In addition to those named, the cast includes Ademide Akintilo, Amaia Arana, Jeffrey M. Bender (his Prince of Arragon is priceless), Byron Clohessy, Ian Gould, Robert S. Gregory, Jay Leibowitz, Anthony Michael Martinez, Joe Penczak,  and Tug Rice.

Production credits to Brian Ruggaber (excellent set design); Käri B. Bentson (sound), Michael Giannitti (lighting); Candida Nichols (lovely 1900-ish costumes); and Alison Cote (production stage manager).

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!