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Home , The Merchant of Venice

Brigham Young University · Department of Theatre and Media Arts

The Merchant of By Directed by Jan. 25–Feb. 4, 2012 Lindsay Adamson Margetts Theatre Livingston Harris Fine Arts Center Adapted by Teresa Dayley Love Lindsay Adamson Livingston

The Merchant of Venice Director’s Note Prologue At first glanceThe Merchant of Venice may seem like an odd choice Act 1 Scene 1: Another Favor for production intended principally for children. The relationships Scene 2: Unsuitable Suitors depicted in the play are deeply troubled and troubling, and they Scene 3: Fair Terams and a Villain’s Mind grew out of and reflect a time period when racial and cultural stereotypes were used as a theatrical shorthand for villainy. Scene 4: Morroccan0721 Enters the Game Scene 5: Sets Sail The play moves far beyond stereotypes, though, and is really about the Scene 6: The Prince of Arrogance many ideas that both children and adults understand perfectly well and engage with daily: love and friendship, parents and children, agency Scene 1: I’ll Have the Heart of Her and choice, appearance and reality, and life on the outside of an insular Act 2 Scene 2: Game Over culture. These affect the ways we see ourselves as well as the ways we Scene 3: Antonia’s Arrest act towards those who believe, look, or behave differently from us. Scene 4: Prettier Fellows In its ugliest form, such differences can manifest in the bullying Scene 5: Justice v. Mercy that has endured throughout much of his life—most of it Epilogue from Antonia and her friends. Unfortunately, bullying is something that children understand, often intimately. The concept of bullying, and how people react to those who are different, ties together all the thematic strands of our production, unifying the diverse story Cast lines and ideas that are floating around this remarkable play. Antonia Katie Jarvis Bassanio Adam White Of all the possible threads to pluck from the play, the cast and I have Shylock Andrew Foree decided to pay particular attention to that of mercy. Shylock doesn’t give it but hasn’t received it from the other characters either. But Sarah Butler Portia Shylock is not the only character to favor absolute lawfulness over Storyteller Jenna Hawkins forgiveness. In the end, Portia also fails the test of mercy, refusing to grant Shylock anything but the strictest of justice. Antonia is the least merciful of all; not content with Shylock’s punishment under Staff the law, she insists on his to the dominant culture, Director Lindsay Adamson Livingston which has long oppressed him. Each would be far better off if he Crysta Powell or she had shown mercy to an enemy, regardless of whether that Production Stage Manager person deserved it. After all, isn’t mercy always undeserved? Dramaturg Megan Chase This is a terribly important message for audience members of all Theatre Outreach Coordinator Rebecca Wallin ages, and we have worked tirelessly to communicate it through this Scenic Designer Brent Robison production. The adaptation by Teresa Dayley Love emphasizes the Jocelyn Chatman themes of forgiveness, mercy, and kindness by removing the original Costume Designer cultural references and replacing them with a more contemporary Assistant Stage Manager/ Mallory Mackay frame. The adaptation emphasizes the way that the same bullying behaviors Shylock both endures and metes out continue today, often Makeup/Hair Designer in the ways we treat those who are different from us. By viewing Properties Designer Hannah May Kroff this well-known play anew, through the lens of bullying, hopefully we can come to a better understanding of the power of true mercy, which is given unearned, unbidden, and unconditionally. □

2 Department of Theatre and Media Arts The Merchant of Venice 3 Meet the Company Sarah Butler From San Antonio, Texas. Senior in media arts studies. Portia Some favorite acting roles at BYU have been Creon in BYU Experimental Theatre’s Oedipus Tyrranus and The Merchant Julia in BYU Spanish Golden Age Theatre’s Castelvines y Montéses (a Spanish version of ). Recent film credits include producer ofThe Wolf and of Venice the Ewe, casting director for Dante’s , and she is currently the director of The Bitter Pill, all of which are BYU senior capstone films. Andrew Foree From Joseph City, Arizona. Senior in theatre education. Shylock Recent credits include George Jones in The Women of Lockerbie at BYU, Zeman in A Second Birth at BYU, Gratiano in The Merchant of Venice with Utah Shakespeare in the Park, and Ergaste in The School for Megan Husbands at BYU. Study Jenna Hawkins From Antioch, California. Freshman in pre-acting Chase, Storyteller and mathematics. Recent credits include being a dramaturg performance artist in Ghost Stories, Smeraldina in The guide Servant of Two Masters, Berthe in Pippin, and Frank in Private Eyes. get to know the Shakespearean characters Katie Jarvis From Grants Pass, Oregon. She has recently been word inventions Antonia Charlotte in Charlotte’s Web, the Narrator in Joseph and the Amazing Technicolor Dreamcoat, and one of the Women from The Women of Lockerbie. She has also Do A Word Search been a supporting dancer in several ballets and dance Facts ensembles. about the Adam White From Ashburn, Virginia. Sophomore minoring in theatre Get Autographs author Bassanio arts studies, major undecided. Recent credits include Conrade in a student directed production of Much Ado Explore Learn how to About Nothing. This is his first mainstage production at BYU. compliment like the Globe Shakespeare

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4 Department of Theatre and Media Arts Cast of Characters Words, Words, Words You will meet many characters in this production. Some will be played by Shakespeare’s language might seem a lot different than how we speak today, members of the audience. One of the actors will even be playing more than one but did you know you probably have quoted Shakespeare before? The following character. were likely coined by the playwright. How many do you recognize? ANTONIA, a sad but wealthy merchant too much of a good thing SHYLOCK, a moneylender who is disliked by many dead as a doornail in a pickle , PORTIA a very wealthy and beautiful young woman foul play BASSANIO, a young man who spends too much money vanish into thin air and who wants to marry Portia elbow room GRATIANO, Bassanio’s friend what the dickens NERISSA, Portia’s lady-in-waiting and friend laughing stock PRINCE OF ARRAGON, PRINCE OF MOROCCO, Portia’s suitors budge an inch bet SALERIO, a friend of Bassanio and Antonio gossip JESSICA, Shylock’s daughter eyeball puking Different skim milk gloomy Worlds label mimic Because Shylock comes from excitement a different background than Why do the characters focus bloodstained the other characters in the more on their differences play, he is often mistreated than their similarities? lower and in turn becomes What could the characters do hurried bump angry at his aggressors. to overcome their differences? bedroom As you watch the Should people always forgive amazement without rhyme or reason play, consider the those who wrong them? following questions:

6 Department of Theatre and Media Arts The Merchant of Venice 7 Game Will Who? Although you might be familiar with some “Shakespeare” already, below are The Merchant of Venice was written by William Shakespeare almost 450 words you might not know. Find them in the word search and listen for them years ago. Impress your parents and teachers with these interesting during the play: facts about the playwright and his life: Nobody knows the exact S L U X G N P I D E F M Q S D date of his birth. Most While most Z N W Z L O A T H I N G R B V scholars believe he was born people use about N E L X R I B P E A W P A G E on or around April 23, 1564. 2,000 words, A D V E R S A R Y F O S L K N Shakespeare J P R O N J A X X I W E O T T used more than N O V N T U I T J O L L Q V U It is likely that 25,000 words. N X H J I A J V C U O O U X R Shakespeare didn’t F I R P W T K B V H Q Q A R E Shakespeare wrote 37 plays and have formal schooling I W Z P V Q U H I Q M U C W R 154 sonnets (a type of poem). after the age of 15. U Z X N K E C X G X P E I W N Z T N D B E H O L D E N O N I Z Q V T H W A R T E D C U D W F B E R E F T I A F I E S K F X R E A Y P R O D I G A L P G C H K J C P V G Q U D B K K A

Loquacious very talkative Shakespeare Prodigal wasteful with money not only wrote Venture property bought in order to sell for a profit plays but he Thwarted to prevent someone’s plan from being successful acted in them Loathing extreme hatred Adversary enemy too. Bereft not having something needed or wanted Fie for shame Eloquence the ability to speak well and convincingly Beholden being indebted for a favor or gift

8 Department of Theatre and Media Arts The Merchant of Venice 9 Build Your Own Shakespearean Compliments Many of Shakespeare’s plays were performed in the Globe. Like most of the Choose one word from each For example: theatres in Shakespeare’s day, the Globe was open air. It would cost about a column and add the word “thou” “Thou delicate, well-wishing wafer-cake!” dollar to attend a play there. Wealthy patrons paid for seats, while everyone in front to create your own or else stood around the stage. You wouldn’t see any actresses on stage, however. Shakespearean compliments. “Thou sugared, tiger-booted song!” It was illegal for women to act during Shakespeare’s day. Instead, boys would play the female roles. In the theatres of Shakespeare’s day, there was no curtain and very little scenery was used. Today, a replica of the Globe exists in rare honey-tongued smilet London where plays are still performed. sweet well-wishing welsh cheese

fruitful fair-faced cukoo-bud

brave best-tempered nose-herb

sugared tender-hearted wafer-cake

flowering tiger-booted pigeon-egg

precious smooth-faced toast After watching The Merchant gallant thunder-darting song of Venice, how different do delicate sweet-suggesting true-penny you think the play would be if Shylock and celestial young-eyed valentine Antonia had complimented What you do think it would have been like to see a play at the Globe? each other instead of using insults?

10 Department of Theatre and Media Arts The Merchant of Venice 11 Ask your favorite actors to sign this page after the show.

Production Staff Bios Megan Chase Most recently from Herriman, Utah. Senior in theatre arts Dramaturg studies with a minor in English. Appeared in BYU’s and For Dear Life. Jocelyn Chatman From Vancouver, Washington. Junior in theatre arts Costume Designer studies with an emphasis in costume and makeup design. Recent credits include makeup designer for The Diary of Anne Frank and Babe, the Sheep Pig; assistant costume designer for White Christmas and Babe, the Sheep Pig; and costume designer for the Mask Club Bibliography production A Second Birth. http://www.folger.edu/Content/Teach-and-Learn/Shakespeare-for-Kids/Cool-Facts/ From Carthage, Missouri. Junior in theatre arts studies http://www.mainstreettheater.com/youththeater/materials/merchantedmats.pdf Hannah May Kroff Assistant Stage Manager/ with an emphasis in directing. Credits with Utah http://shakespeare-online.com/plays/merchantscenes.html Props & Set Dressing Design Shakespeare in the Park include and http://www.folger.edu/documents/KidCompliments.pdf Uncle Vanya The . She assisted with and http://rjbritlit.files.wordpress.com/2011/11/draft_lens17938595module150127403photo_1305131962diagr Merchant of Venice Peter Pan Jane am-of-the-globe-thea2.jpeg Austen’s Persuasion; was props designer for Cinderella, Béatrice et Bénédict, and ; and was set dressing designer for Anne Frank and White Christmas, and is assistant stage manager for Merchant of Venice This is also her first time stage managing a production. Lindsay Adamson From American Fork, Utah. Adjunct faculty of critical Livingston studies and directing at BYU. Recent directing credits The Kennedy Center American College Theater Festival™ 44 Director include Where the Wild Things Are, Romeo and Juliet, sponsored in part by Clue: The Musical, Joyce Baking, and . MA, Stephen and Christine Schwarzman The Kennedy Center Corporate Fund University of California, Los Angeles; PhD, The Graduate U.S. Department of Education Center, The City University of New York. The National Committee for the Performing Arts Dr. Gerald and Paula McNichols Foundation Teresa Love From Murray, Utah. In Los Angeles, 25-plus years as This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national Adapting Playwright writer, director, producer of theatre for youth. Currently, theater education program are to identify and promote quality in college-level theater production. To this end, each adjunct faculty of theatre education at BYU, and production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, professional development partner for the Beverly Taylor dramaturgs, playwrights, designers, stage managers, and critics at both the regional and national levels. Sorensen Arts Learning Program. In 2011 she directed Productions entered on the Participating level are eligible for inclusion at the KCACTF regional festival and can also Young Company’s production of Babe the Sheep Pig. be considered for invitation to the KCACTF national festival at the John F. Kennedy Center for the Performing Arts in Washington, D.C., in the spring of 2012. Last year more than 1,300 productions were entered in the KCACTF involving more than 200,000 students nationwide. Like BYU Young Company on facebook. By entering this production, BYU Theatre and Media Arts is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation. 12 Department of Theatre and Media Arts The Merchant of Venice 13 Mallory Mackay From Lehi, Utah. Senior in theatre arts studies with College of Fine Arts and Communications Makeup and Hair an emphasis in costume and makeup design. Recent credits include assistant costume designer for Peter Pan, assistant costumes and co-makeup designer for The Diary of Anne Frank, makeup and mask designer for The Elephant Man, and makeup and costumes for The BYU Arts Production Women of Lockerbie. Dean Properties Designer Adeline Pichot Ushers Stephen Jones Hannah Kroff Chelsey Roberts Stephen Allred Crysta Powell From Mapleton, Utah. Sophomore in theatre arts studies Executive Producer Set Dresser Angela Robinson Sam Bostwick Production Stage with an emphasis in stage management. Recent credits Randy Boothe Hannah Kroff Hair & Makeup Tony Castagno Ashley Fletcher Manager include assistant stage manager for SCERA’s Singin’ Lighting Advisor Supervisors Producer Michael G. Handley Mehlanie Kayra Janell Turley in the Rain, Camp Rock, and Aida, BYU’s Homecoming Amy Petersen Jensen Danielle Luna Asst. Lighting Advisor Arianna Woodward Spectacular 2011, and The Christmas Miracle of Jonathan Production Director Marianne Ohran Stephanie Maynes Toomey. Russell Richins Resident Electrician Sound Engineer Gentry Pier Matt Talley Associate Director Becky Howard Business Manager Benjamin Sanders Brent Robison From Winnipeg, Canada. Theatre arts major with an Electrics Crew Audio Crew Kyle Nielsen Mckenzie Ottley Scenic Designer emphasis in set design. He recently was an assistant set Production Manager Spencer Carter Asst. Business Jennifer Reed Josh Roberts Doug Olsen designer for White Christmas. He has also helped out Clifton Hargus Manager Matt Talley Stage Events Douglas Olsen Kelly Bready with student productions of and A Second Birth, Jacqueline Johnson Coordinator Amelia Dunlap Accountants and a student film production ofThe Wolf and the Ewe. Jennifer Reed Austin Wilkins Patron Services Amy Collyer Production Assistants Brett Vandygriff Seth Mergist Manager Brady Sanders Heather Bosen Jeffrey Martin Kristy Hunter Trent McFadyen Marketing Manager Department of Theatre Brianna Stephenson Assistant Ken Crossley Technical Director Landon Drean Travis Coyne Costume Shop Manager Art Director Donnette Perkins and Media Arts Ass’t Technical Director Ticket Office Shay S. Spaulding Ward Wright Asst. Costume Accountant Poster Illustration Full-time Faculty Janet L. Swenson Michael G. Handley* Jennifer Reed* Shop Manager Ashley Rebilas Liz Pulido Amy Petersen Jensen Sharon L. Swenson Erika Hill Nathaniel Reed Special Projects Deanne DeWitt Ticket Office Chair Tim Threlfall Scott Hill Lauren Roundy Coordinator Cutter/Draper Photography Tom Lefler Jon Holloman* Courtney Russell Frank Weight Deanne DeWitt Supervisors Mark Philbrick Associate Chair Adjunct Faculty & Wynn Hougaard John Shurtleff Special Projects Gloria Pendlebury Megan Evans HandleyCraft Photography Julia Ashworth Part-time Faculty Tim Irwin Joyce Skidmore Assistant Mary Jane Wadley Megan Leavitt Program Design Travis Allen Brad Barber Ruston Jones Jerry Stayner Mark Clawson First Hand Clarissa Oliphant Danielle Hale Dane Allred Stephanie Breinholt Melissa Larsen Troy Streeter Expediter Diane Ogden Ticket Agents Ben Keeley Wendy Aston Dean Duncan Lindsay Livingston Anne Sward-Hansen Matthew Pearson Adeline Pichot Sian-Amy Baldock Lisa Bean Marketing Assistants Mary Farahnakian Teresa Love Becky Wallin Draftsman Costume Crafts Ben Brown Lara Beene David Jon Banks Eric Fielding Jeffrey Martin* Frank Weight* Logan Hill Supervisor Karli Christensen Cathy Black Alexis Caldwell Barta Lee Heiner Shirene McKay Ron Wilkinson Schulte Gardner Sara Gardiner Michael Chadbourne Scenic Artists Jorge Concha Wade Hollingshaus Jaynanne Meads Diona Wilson Katie Eargle Wardrobe Supervisor Brandon Christenson Allison Holm Jana Cummings Megan Sanborn Jones Christopher Miller Elain Witt Alicia Garrett Chelsey Roberts Janielle Christensen Kelsie Stuart Sarah Dickson Darl Larsen Kee Miller Mark Woodruff Chad Lindsay Melissa DeGuire Dan Clark Marcella Toronto Jeffrey Laidlaw Tom Lefler Kurt Mortensen Ward Wright* Rachel Robinson Stitchers Travis Cline Erin Wright Cory Scott Kelly Loosli Bradley Moss Carter Thompson Jocelyn Chatman Travis Coyne* Liz Young David Morgan Shawnda Moss Administrative Staff Thomas Bosen Stephanie Davis Scheduling Coordinator Pat Debenham Brian Brough George Nelson Donnette Perkins* Elizabeth Funk Melissa DeGuire House Managers Bethany Talley Melissa DeLange Brent Robison Natalie Hughes Tom Russell Karen Peterson Thaylene Rogers Rachel Chantry Scheduling Secretaries Deanne DeWitt* Erin Stevenson Sheri Johnson Eric Samuelsen Stephen Purdie Kyle Stapley Ashely Farr Andrea Bytheway Scott Eckern Danny Jacobson Mallory Mackay Rory Scanlon Reese Purser Stepahnie Blickfeldt Kayla Scott Paige Dewey Lisa Elzey Heather Starr Ashley McWhorter Rodger D. Sorensen Gayanne Ramsden Michelle Burg Lindsey Sommercorn Crysta Powell Stephanie Freeman *BYU Arts Production Jane Ostergar Emily Ray Andrew Payne Martha Ostergar Ashley Werner Zoe Smith 14 Department of Theatre and Media Arts The Merchant of Venice 15 2011–2012

Donors Mary Lou Fulton Chair Endowment Ira A. and Mary Lou Fulton Dr. Marcus & Lorena Bach Endowment R. Don & Shirley Oscarson Endowment J. LaVar & Helen Bateman Endowment Ruth Smith Silver Endowment Verda Mae Fuller Christensen Endowment Donald C. Sloan Endowment Marie Clegg Jones Speech Endowment Divine Comedy Endowment Cherrill B. Liptak Endowment H. Roland Tietjen Endowment O. Lee Walker Endowment Frank Whiting Endowment

Richard & Carma de Jong Anderson Janet L. Swenson Elder Clayton M. & Christine Q. Christensen Harold R. & Ima Jean Oaks

Scott & Kristin Card Timothy & Linda Threlfall

Hooshang & Mary Farahnakian Michael & Virginia Handley Eric & Annette Samuelsen Eric & Cecelia Fielding George & Leslie Jo Nelson Rodger & Claudia Sorensen

Matthew B. Carlson Stephen D. Purdy Matthew & Teresa Love McKay & Amy Jensen Deanne DeWitt Nathan & Christina Swiss James & Lynn Pack Lockheed Martin Corporation Garold J. Holladay Elizabeth C. Funk Danna P. Robinson Steven D. Mackay Tom & Laura Lefler Colonel Douglas P. Gorgoni Ward & Mary Wright Merilee A. Pettersen Lisa L. Lonsdale Sheril & Ann Hill Linda W. Day Rory & Deanna Scanlon Bob & Char Nelson Robert W. Lewis Barta L. Heiner

The Department of Theatre and Media Arts expresses deep appreciation to our generous patrons. For information about giving to Theatre and Media Arts, visit cfac.byu.edu and clickThe onMerchant the link of “Giving Venice to the16 College.” For information on how you can play a greater role in Theatre and Media Arts at BYU, contact Amy Petersen Jensen, department chair, at (801) 422-8132 or [email protected].