Every aspiring playwright has a Big Idea in his or her head, a High Concept that he or she is convinced will take the world by storm, make audiences see the world in a new light, and be Literary with a capital L. The truth, however, is that any young fool can have a Big Idea, complete with capital letters. The tricky part is execution—and in this area, Tanghalang Pilipino’s “Der Kaufmann/Ang Negosyante ng Venecia” delivered.

“Der Kaufmann” was a play for the discerning, thoughtful theatergoer. Its basic concept, a performance of “The Merchant of Venice” in Nazi Germany during the Second World War, called for at least a basic familiarity with both Shakespeare and the history of the 21st century. It was far from the first play to draw power from the intense human suffering and horror of that time, but it did so well, and in a way that could only be done in theater.

Violent and bloody

The goal of art, as I often say to my sleepy freshmen in drama class, is not to make you feel happy but to make you feel. A play does not need to be fun to engage its audience. Some plays make you think. Some make you weep. Some make you want to fight.

“Der Kaufmann” did all of the above, but if you were out to have fun and laugh at pretty things, you had to look elsewhere. The play was filled with superbly acted anguish. It was violent and bloody. Its costumes were simple but effective. The set design hit you over the head with symbolism, which I normally do not like. For a play with this theme, though, I was inclined to let it slide. “The Merchant of Venice” was not a subtle play, and in this regard, “Der Kaufmann” did not stray far from its parent.

Where it did innovate was in sheer emotional impact. Where Shakespeare spoke with dignity of “the quality of mercy,” Der Kaufmann employed psychological violence to a breathtakingly, frighteningly realistic degree. Anyone who has ever been bullied or intimidated would find any scene between the Nazis and the Jews to be uncomfortably close to home. Playwright/director Rody Vera did amazing things with the character of Shylock, and Jonathan Tadioan’s complex, kaleidoscopic performance had to be seen to be believed.

Special mention should also go to young Trixie Esteban, whom we last saw in “Sandosenang Sapatos,” and who again did herself credit here.

Strange role

The role of Portia was strange. “Der Kaufmann” was a play that occupied two worlds, that of the play and that of the concentration camp—and, indeed, Tanghalang Huseng Batute’s unique multilevel stage was adroitly used to create this effect. Portia was a character who threatens the audience’s suspension of disbelief by being such a presence in both worlds.

While it was clear that Regina de Vera (beautiful in period costume!) had researched the role and poured her energy into it, the character of Portia was the main glitch in “Der Kaufmann’s” potent premise.

On the other hand, the collision of the playful, artistically contrived world of “The Merchant of Venice” and the grim horror of “Der Kaufmann” had a very real effect on the audience. The happy ending of “Merchant,” after all, was all fun and games. But by the end of the equivalent scene in “Der Kaufmann,” any audience member who wasn’t dead inside would want to scream, “This is not a game, this is not a game!”

I am pleased with Tanghalang Pilipino’s ambition. “Der Kaufmann” is a strong contender for the best play I have seen this year. It was refreshing to me as a reviewer that I did not have to bother with nitpicking the little details, which the actors and the director got effortlessly right. It means I got to focus on the big message of “Der Kaufmann,” a message which is still relevant today, 70 years after the gas chambers.

This is an important play, hard on the heart and good for the soul.