Shylock and Shakespeare Revisited: An Interview with A.R.T. founder, Dr. Robert Brustein

January 31, 2011

For decades, Dr. Robert Brustein has been a major force in the theater world as a producer, playwright, critic, educator and founder of two major theaters – the American Repertory Theatre in Cambridge, MA and the Yale Repertory Theatre in New Haven, CT. Recently, Dr. Brustein took some time to answer a few questions from the New Vilna Review about his participation in a joint New Center for Arts and Culture-ArtsEmerson event, entitled “Shakespeare’s Jews,” as well as about his own work and life in the theater.

NVR: You recently participated, as moderator, in a program entitled “Shakespeare’s Jews,” which was co-sponsored by the New Center for Arts and Culture and ArtsEmerson – what did you take away from the discussion which took place that evening? Was there anything that surprised you?

I came away with renewed respect for what theatre people, apart from academics in the field, can contribute to our knowledge of theatrical literature.

NVR: A recurring question that came up during the program was whether or not Shakespeare intended Shylock to be seen as an Anti-Semitic object of derision. Perhaps not surprisingly, it seemed as though no real consensus was reached, either among the panelists or in discussion with the audience – How do you see Shylock? Is he simply an Anti-Semitic caricature of a Jew, or is there more depth to this character?

As with all great artists, there is a difference between intention and execution. Brecht intended Mother Courage to be a “hyena of the battlefield,” but unintentionally ended up creating a character that pulls at our heart strings. Shakespeare clearly intended to make Shylock the incarnation of the grasping, murderous, usurious Jew, but, perhaps against his conscious will, managed to humanize him as well. Not that he ends up less grasping, murderous, or usurious.

NVR: Do you have a sense as to how Shakespeare may have wanted his audience to perceive Shylock? What elements do you think factor into the ways in which people see The Merchant of Venice and Shylock?

I strongly suspect Shakespeare wanted audiences to perceive the moneylender Shylock as a religious contrast to the more generous-minded Christians--unlike Marlowe in The Jew of Malta whose Christians are just as mean and greedy.

NVR: One of the more interesting threads to emerge during the event was the idea, touched upon in a different way by each of the three panelists – actor F. Murray Abraham, Shakespeare and Company Founding Artistic Director, Tina Packer, and Theatre for a New Audience founder, Jeffrey Horowitz – was the idea that The Merchant of Venice is really not so much about Anti-Semitism as it is more broadly about issues of tolerance, prejudice and social pressures brought to bear on those perceived as “the other.” What do you think of this idea? Does it resonate with you?

I am afraid not. That strikes me as imposing our modern notions of religious tolerance on a much less ecumenical age. Shakespeare’s England, which had expelled Jews from the land in 1290, considered them on a par with the Devil. They were thought to have horns (see Michelangelo’s David in Florence), and to use the blood of Christian children in the making of matzos. Shakespeare grew up in a prejudiced world and no doubt shared its prejudices. But he was also a great artist, with a powerful sense of humanity.

NVR: You have had a distinguished career in theater, writing and academia, including as the founder of the American Repertory Theatre and Institute and the Yale Repertory Theatre – can you give us some insight into what first inspired your love for drama and teaching, and what led to the establishment of these two important institutions?

Wow! I’m afraid there are no short answers to those questions. But like most theatre people, my love for drama was first inspired by a love of acting. I had a lazy “L” so my parents sent me to elocution school to correct it, and I ended up in plays. Later, when I learned to love other people’s acting (and playwriting, directing, designing, etc,), founding and running theatre companies became a priceless opportunity to identify, develop, and encourage talent.

NVR: Can you give us a glimpse into what you are working on right now and what we can expect to see from you in the future?

I have just finished a trilogy of plays about Shakespeare--The English Channel, Mortal Terror, and The Last Will. The first play (about his affair with the Dark Lady) was produced in 2009, and the other two (about the Gunpowder Plot, and his return to Stratford) will be produced in the Fall. The Klezmer musical I conceived and adapted (from I.B. Singer) called Shlemiel the First will be revived in New York in November. A new collection of essays called Rants and Raves will be published in May. I am currently working on a new Klezmer musical called King of the Schnorrers. And I am writing a book about Mel Brooks called Puttin’ on the Spritz. Other than that, aside from teaching and playing with grandchildren, I am loafing.

NVR: Is there anything else you would like to add?

Long live Shakespeare, and all his descendants in the theatre!