Interludes

THE HANGOVER REPORT – Aaron Posner’s DISTRICT MERCHANTS is a pointed reworking of “The Merchant of Venice”

• By drediman
• June 14, 2016
• No Comments

This past weekend in Washington, DC, I had an opportunity to catch Folger Theater’s current offering, the world premiere of District Merchants, Aaron Posner’s pointed reworking of The Merchant of Venice. Mr. Posner has set this retelling of Shakespeare’s oft-performed tragedy in Washington, DC during the post-Civil War Reconstruction Era. Emotions are riding high as newly freed African Americans are endeavoring to make sense of and advance themselves in the new society. Instability, opportunism, and ongoing bigotry are at the forefront of the national consciousness, making this period in our country’s history ideal for this Merchant.

Mr. Posner is perhaps best known for his ingenious, albeit very loose, adaptations of Chekhov’s masterpieces, The Seagull and Uncle Vanya, which have been respectively titled Stupid Fucking Bird and Life Sucks (an anticipated third Chekhov adaptation is along the way, No Sisters, Mr. Posner’s take on Three Sisters premiering at Studio Theatre this coming season). Mr. Posner’s work in District Merchants pales somewhat in comparison to his Chekhov spins merely because he’s here once again used the same formula – the plethora of asides, the fluid breaking of the fourth wall, pointed observations and commentary, etc. Nevertheless, the play is never less than engaging entertainment.

District Merchants has been resourcefully directed by Michael John Garcés. His set designer, Tony Cisek, has created an impressively imposing unit set on which the action takes place, powerfully suggesting time and place. The acting is fine all-around, particularly Matthew Boston’s impassioned Shylock and Craig Wallace’s chilling portrayal of Antoine (a.k.a., Antonio).

RECOMMENDED                 

DISTRICT MERCHANTS
Regional, Play
Folger Theatre (Washington, DC)
2 hours, 30 minutes (with one intermission)
Through July 3