Shakespeare’s “The Merchant of Venice” is considered a ‘problem’ play with its ambiguous tone, shifting from humor to dark elements in the person of one of the central characters, the Jewish Shylock. No matter what Shylock does, he is teased and mocked, hated and detested until someone needs money from him. Antonio borrows money to help his friend Bassanio court the young woman he loves. Antonio pledges to return the money or forfeit a pound of flesh.

The show is directed by Ukrainian-born Jewish director Igor Golyak. Golyak won acclaim with his direction of the powerful play “The Class” about ten Polish classmates, five of whom were Jewish and the other half Catholic, who grow up together as friends and neighbors but their interactions become deadly when they turn on one another.

Perhaps in an attempt to attract younger audiences, the framework of the play is a behind the scenes look at a late night tv show. We are the audience for "The Antonio Show," starring TR Knight who voices two hand puppets in lieu of live actors.

A hapless cameraman follows the actions of the performers on the stage. Of course, initially nothing is going right and at one point Antonio gets tangled in one of the curtains. Only one musician has remained to play for the band and many of the actors have quit. The remaining performers play multiple roles, including the cameraman, who fills in.

Besides the puppets, there are gimmicks galore. A bubble machine, a Christmas tree, helium balloons and applause signs telling the audience when to cheer. The costuming is unconventional as well. At the end when Portia disguises herself as a young lawyer, she wears a Superman outfit. The three actresses all wear sports bras and two of them sun themselves in their bathing suits. Bassanio, the show’s love interest (José Espinosa) , appears in very brief athletic shorts and removes his shirt several times. The scenes with Bassanio and Portia are sensual and suggestive.

The most disturbing costume is that of Shylock, the moneylender, yet it leads to the only satisfying moments of the production. The character is well-played by performer Richard Topol. For most of the play, the actor wears a Groucho nose and glasses as well as vampire cape and fangs. So the audience sees the Jew as a bloodsucker. For some, it might have been humorous but as the play nears its conclusion, Shylock has lost his daughter and all his money. His only solace is the thought of revenge at Antonio. The actor suddenly changes tone and rips off his ridiculous costume. He ad-libs saying “ Richard is my name” even though Shakespeare hasn’t mentioned Shylock’s first name. The actor has taken this personally and is furious and menacing. The other actors honestly fear him. When he threatens Antonio, it is with real malice since he’s replaced the rubber clever with a real knife.

In psite of the gimmicks and silliness, the CSC version of “The Merchant of Venice” remains true to the playwright’s ending. Portia argues skillfully to save Antonio’s life and Shylock is punished, but his life is spared when he converts to Christianity.

Despite the absurdity of the gimmicks and pratfalls including the cameraman on a unicycle, the play ends with a disquietude, far from a happy ending. I’m assuming that was Golyak’s intention. I just wish he hadn’t obscured that goal with bubbles and balloons.