William Shakespeare’s The Merchant of Venice is one of his most powerful plays. In recent years, there have been some who said it should not be taught or performed because of its anti-Jewish themes.

Early on in the new production of the play at Classic Stage Company in Manhattan, one performer on stage calls it a “problem play.”

I’ve taught the play many times at a high school level, and no student came away hating Jews because Shylock, the Jewish moneylender, is the villain of the play. Art is a reflection of reality — and one character does not represent an entire people.

There are surely large antisemitic elements in the play, including that Shylock is bent on getting his pound of flesh, refusing to have multiple times the money he has lent Antonio (who has mocked him in the past and treated him poorly) returned.

I was looking forward to seeing this production, and how Richard Topol as Shylock would give the “Hath not a Jew eyes,” speech, in which he argues for equality and seeing Jewish people’s humanity.

With rising antisemitism in the world and in America, I looked forward to seeing how the play would be “re-imagined” — as Classic Stage Company promised.

Jewish director Igor Golyak has a kernel of genius in having this staged production as a talk show. But the kernel unfortunately never pops. He abandons a possible Jerry Springer idea for some weak slapstick comedy that doesn’t work in the slightest.

The actors are all high energy and talented. Alexandra Silber, who I’ve seen excellently play Tzeitel in a production of Fiddler on the Roof, is a commanding presence on stage as Portia and fun to watch. Jorge Espinoza has great charm as an idealistic and muscular Bassanio. As Shylock, Richard Topol wears Groucho Marx fake glasses and a fake big nose and he is a good actor, but the play is so off-kilter, there is no power in any of his lines. Gus Birney goes all in with a good amount of gusto as Shylock’s daughter, Jessica, and I wouldn’t be surprised if she has a lead role in an upcoming play. T.R Knight who plays Antonio, has some good moments.

But I cannot understand what in the world Golyak is trying to do here. Yes, we get it. He wants to show the absurdity of how in Shakespeare’s times, the play was viewed as a comedy and should not be viewed as funny. But in order to do this, one should make sure there is balance and power, not just things that appear different for the sake of being different.

This production is like a promising microwave meal that looks smoking hot at the beginning, and fails because not enough care and craft was taken.

There are two jaw-droppingly absurd moves. The first is to have Richard as Shylock say “Richard is my name.” This is simply infantile. The biggest miss is to think people will care that you have a painted Jewish star and the chanting of the “kel maleh” the prayer recited at funerals, despite scenes earlier, having a puppet perform a sex act on another. You can choose one of the other to have in your play — but using both together is a cheap trick, and destroys tonal consistency.

There is value to abstract art, and not doing everything “on the nose.” But to try to shock simply to be shocking is pointless.

To have “Hava Nagilah” in the show also serves no purpose. A scene where a character is tied down as was Jack Tripper in Three’s Company also has no relation to The Merchant of Venice.

A woman who sat next to me said she’d seen Golyak’s direction of Our Class, which was a play about five Jews and five Catholics in Poland and is inspired by the 1941 pogrom in the Polish village of Jedwabne. I am sorry I did not see it.

It is sadly ironic that the Classic State Company has done away with a classic play, and turned it into a ball of randomness and banality. That some of the women are scantily clad neither helps nor hurts the production.

When you peel off the plastic, this production of The Merchant of Venice has some smoke, but no fire because Golyak, despite a great cast, fails to go deeper into a depiction of the consumption and understanding of information and more specifically, hate.

The author is a writer based in New York.

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