Love, passion and Money.

In The Merchant of Venice, as so often happens in William Shakespeare’s plays, nothing is quite as it seems at first sight. 

From the epithet of “romantic comedy” that accompanies the title of the play in its first edition (1600) to the profile of Shylock, one of the most memorable Jews in the history of dramatic literature, everything is so complex and relative that it prevents us from taking refuge in labels and preconceived forms. 

The staging seen in the Sala Gran, directed by Rafel Duran, was consciously marked by the current landscape and boldly situates us in a context of economic recession.