Photo by Dahlia Katz

by Tim Leininger

BROOKLYN — William Shakespeare has come under a more critical eye over the past few decades, which I think is fair. The Bard’s writings are over 300 years old now, and there are more than a few outdated ways of thinking that are present within his plays. Three plays immediately come to mind that get a significant amount of reconsideration, Othello, The Taming of the Shrew, and The Merchant of Venice. It’s this last one that gets a deep dive here in Playing Shylock, a passionate piece of the constant battle between art and the ever-shifting morality of society, written by Mark Leiren-Young, directed by Martin Kinch, starring Saul Rubinek (The Ballad of Buster Scruggs, Frasier). The one-man show is being performed through Dec. 7 at Polonsky Shakespeare Center at 262 Ashland Place, Brooklyn.

            It’s hard to imagine that this isn’t a new piece, as Playing Shylock is replete with personal reflections made by Rubinek, but this play has been around since 1996 when it premiered in Vancouver starring David Berner. This production has been heavily re-written to reflect Rubinek’s personal experiences and family history.

The conceit of the piece is that Rubinek is playing Shylock in a production of The Merchant of Venice. Intermission is about to end and after a bit of arguing heard off-stage, Rubinek enters dressed as Shylock. He proceeds to announce that due to rising protests regarding the anti-Semitism of the play, the performance and the rest of the show’s run has been cancelled by producers who are more concerned about public opinion of their theater and the bottom dollar that comes from that opinion than artistic integrity. Not content with just making the announcement, Rubinek sits with the audience and what we get for the next hour and a half is some of the most heartfelt expressions of self-love, love of family, love of heritage, love of culture, and love of art that has been seen performed by one person in a good minute.

Photo by Dahlia Katz

            From the very second Rubinek steps on stage, the anxiety of knowing what he has to say is palpable as his hands shiver with distress. He ebbs and flows with emotion in impassioned speeches, like how his father defied his own father growing up, wanting to be an actor, a career which was squashed by the rise of Nazism. Rubinek, himself, was born in a refugee camp in Germany after World War II, and Shylock was a role his father longed to play, but the opportunity was never given. So, Rubinek, in honor of his father, wants to play the role.

            Alas, there is the whole anti-Semitic implications of Shylock, and Rubinek delves into this, discussing the origins of how The Merchant of Venice came about and how the role of Shylock developed from the late 16^th Century to modern day. Ultimately, things are far more complex than what people may perceive the play to be (which I happen to agree with), and it is important not to let other people’s prejudices and stereotypes make ourselves prejudiced about things we may not fully understand. That a little more time, a little more study, a little more acceptance may allow for not only a deeper understanding of who Shylock has been, but who Shylock can be.

            He continues with stories of his own career and how anti-Semitism permeates the world of theater, television, and cinema today and how he is perceived when he is cast. It’s a sober look at the entertainment world and how modern casting methods have proven to be beneficial for some, but not necessarily for all, and it’s a fair argument that actors should listen to. As if to exemplify that very complaint, Rubinek gives the best performance I’ve ever seen of his here, and I’ve enjoyed following his career ever since I first saw him in Unforgiven in 1992 (I was 15 at the time). As serious as Playing Shylock can be, Rubinek does infuse the play with his inherent sweetness and charm. He gives a welcoming, disarming performance that allows us to laugh during even the most uncomfortable of moments.

Photo by Dahlia Katz

            Playing Shylock is going to be uncomfortable for some, and I’m happy for that. It should be uncomfortable. There are serious arguments made here and Rubinek doesn’t pull punches. It is tender and sensitive yet also thought provoking. Maybe the best platitude I’ve seen was when I was in attendance was a Jewish gentleman sitting several seats away from me offered his blessing upon Rubinek during curtain call. Myself, being a Goyim, how can I beat that?

PLAYING SHYLOCK

TICKETS: https://playingshylock.com/

PRODUCTION: Written by Mark Leiren-Young; Directed by Martin Kinch; Set & Costume Designer: Shawn Kerwin; Sound Designer: Olivia Wheeler; Lighting Designer: Jason Hand; Stage Manager: Stephanie Matthews; Script Consultant: Rachel Ditor; General Management: Starvox Touring

CAST

Saul Rubinek