The Merchant of Venice

DAVID GRANT'S production of The Merchant of Venice, for Belfast's Lyric Theatre, is set in New York in 1929, the time of the Wall Street crash. Once set - and it does not take long - the atmosphere and style sustain the play admirably, and vice versa.

Money affairs dominate the characters, who speak in a range of American accents from educated twang to Runyonesque inflection. This is, indeed, a case of Shakespeare with guys and dolls.

Within this creative framework, the director gives new and pointed dimensions to his characters. Portia, as played by Sheelagh O'Kane, is a short, blonde and bustyjazz age flapper, spirited and funny. To anticipate an obvious question, yes, this does tend to diminish the authority of her presence in the courtroom scene; but the necessary adjustments are in place around her.

The others slot nicely into the changed interpretation, and the whole flows with energy and pace.

And what a Shylock is provided by Richard Croxford, young (fortyish), swarthy and handsome. It was a time of anti semitism in America, and we see him as a man of spirit poisoned by resentment. When his daughter Jessica - a pert Laine Megaw - elopes with Lorenzo (Jamie Darling), his humiliations obsess him. Isolated in the court, he pursues his vengeance with barely contained hysteria, and was never more obviously conned by his enemies as here; a brilliant interpretation.

It all works beautifully within Stuart Marshall's simple and effective set of wooden frames containing low platforms and a raised corridor.

The comedy scenes are hilarious, as in the trials of Portia's suitors. First comes a minstrel, banjo playing delegation; then an Andalusian, flamenco style approach; and finally Bassanio's jazz based combo - the winner, of course. Where there are laughs to be had, they hubble up freely from the imaginative melange.

All the performances are excellent, including John Hewitt's strong Antonio, David Ganly's impulsive Bassanio, David Howarth's Gratiano, Alan McKee's comic Young Gobbo, Julia Dearden's Nerissa and a trio of polished vignettes from Barry Cassin. This is a great play joined to a good idea in the happiest of harmony, and a royal treat for audiences.