Balthazar is an intriguing retelling of a classic canon that expertly blends the old with the new, offering audiences a fresh perspective on a classic tale. Because of nuanced writing, thoughtful direction, and richly layered themes, Balthazar is a testament to the enduring relevance and power of Shakespeare’s works.
SALT LAKE CITY, UT—I recently had the pleasure of watching the premiere of Balthazar, written by Debora Threedy, at Plan-B Theatre Company. Directed by Cheryl Ann Cluff, this captivating play, set just before, during, and after Shakespeare’s The Merchant of Venice, offers a fresh perspective on the classic tale while delving into themes of justice, identity, and the intricacies of the law. Balthazar, named after Portia’s alter-ego, is a compelling show that expertly blends the old with the new, offering audiences a fresh perspective on a classic tale. Threedy‘s adaptation is a testament to the power of storytelling and the enduring relevance of Shakespeare’s works.
As a reminder, The Merchant of Venice revolves around the character of Shylock, a Jewish moneylender whose quest for revenge against Antonio, the titular merchant, drives much of the narrative tension. Shylock’s demand for a pound of Antonio’s flesh as collateral for a loan highlights the themes of justice and mercy, forcing audiences to confront questions of morality and empathy in the face of legalistic rigidity. Yet, it has long been questioned for its critique of prejudice and discrimination, particularly in its portrayal of anti-Semitism. It’s a play that some teachers—and with good reason—refuse to teach.
Photo by Sharah Meservy
As a published Shakespeare scholar and college English and writing instructor, I would gladly include Threedy’s adaptation in my own coursework, and I do not think it will be long before others will, too. Before premiering at Plan-B Theatre Company, Balthazar was previously chosen for The Utah Shakespeare Company’sWords Cubed: a week-long, intense development and performance process for the 2022 season. With all this in mind, I was genuinely impressed with how Threedy approached this problematic play.
Threedy’s expertise shines through in her exploration of the legal aspects of the story, adding depth and complexity to the adaptation.
Threedy excels in humanizing new perspectives and doing so appropriately (within the context of the play)…Indeed, I feel The Merchant of Venice was a play Threedy was born to rewrite.
—Rhetorical Review
Balthazar centers around Portia’s journey into the world of law (portrayed by Lily Hye Soo Dixon). The story takes place just after Portia’s father has died, leaving her with a large dowry but no way of claiming it unless a man marries her. Unfortunately for Portia, her father made very peculiar stipulations for claiming the dowry—and Portia—including a betrothal riddle for the man who is lucky enough to win her. Instead of waiting for a man to rescue her, Portia takes matters into her own hands and decides that she will learn the law. However, she is only allowed to learn the law by dressing as a man. Dixon, who plays Portia, is charismatic and energetic, capturing the audience’s empathy and admiration as she grapples with legal puzzles that outwit her cousin.
Photo by Sharah Meservy
Jason Bowcutt gives a very compelling performance as Portia’s cousin and legal advisor, Bellario. Bowcutt’s Bellario acts as her friend and guardian (now that Portia’s father has passed). Bowcutt does a superb job delicately balancing the relationship of (almost) father and friend to Portia. However, Portia sometimes pushes him to his edge, and he must put Portia in her place and teach her lessons, as painful as that is for both of them. Bellario’s parently love for Portia shines through his wise counsel and passionate debates. Bowcutt’s portrayal adds depth and nuance to the character, making him both relatable and lovable.
If I were to offer a critique, it would be that I wish the scenes, including Bassanio, were not skipped. It felt like a letdown after spending so much time setting up Portia’s fate not to be able to see Bassanio solving the riddle that wins her hand in marriage.
Director Cheryl Ann Cluff‘s adept handling of the material is evident throughout the production. The pace and energy of the show are consistently engaging, with well-timed moments of pause and reflection interspersed with lively dialogue and debate.
The elegant set design by Janice Chan, accompanied by a lovely pre-show soundtrack, sets the stage for an immersive theatrical experience. I would have enjoyed more music throughout the show. Aaron Asano Swenson’s detailed Graphic Design and rich Costume Design enhance the production’s visual appeal, with cleverly designed changes adding to the overall sense of magic and spectacle. Props Designer Arika Schockmel collected an impressive array of vintage items that brought Cluff’s vision to life. The lighting design by Marley Keith was simple and effective. David Knoell built the beautiful set as the Scenic Builder and kept a quick pace as the Stage Manager. Intimacy Director Liz Whittaker works with actors not only for romantic scenes but for any scenes in which actors might need help navigating physicality that might produce difficult emotions—her job is to advocate for actors’ needs.
Photo by Sharah Meservy
In conclusion, Balthazar is an intriguing retelling of a classic canon that expertly blends the old with the new, offering audiences a fresh perspective on a classic tale. Because of nuanced writing, thoughtful direction, and richly layered themes, Balthazar is a testament to the enduring relevance and power of Shakespeare’s works. As it embarks on its journey with Plan-B Theatre Company, it’s clear that Balthazar is poised to make a lasting impact on audiences far and wide.
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What if Portia’s appearance as a male lawyer in court wasn’t the first—or last—time she dressed in drag?
Portia is a noblewoman from 16th-century Venice. She wants to be a lawyer, but that profession is reserved for men. Her lawyer cousin Bellario won’t teach her. Her husband, Bassanio, is in serious legal trouble … and he’s in love with his best friend, Antonio. Things are not going well. What’s a girl to do?
1. Create an alter ego (enter Balthazar). 2. Trick Bellario. 3. Represent Antonio (and Bassanio) in court.
This riff on Shakespeare’s THE MERCHANT OF VENICE is a life-and-death journey through the law, love, and gender identity.
Developed in our Lab and Script-In-Hand Series + Words Cubed at Utah Shakespeare Festival.
Subscriptions + tickets + info in the button gallery below. Everyone should check out the high school student guide! And, speaking of high school teachers, please email our Education Coordinator, Sharah Meservy, to inquire about student matinees.
CAST & CREATIVE
Playwright: Debora Threedy Actors: Jason Bowcutt & Lily Hye Soo Dixon Director & Sound Designer: Cheryl Ann Cluff Intimacy Director: Liz Whittaker Lighting Designer: Marley Keith Props Designer: Arika Schockmel Show Art & Costume Designer: Aaron Asano Swenson Scenic Designer: Janice Chan Stage Manager & Scenic Builder: David Knoell
“When we are both accoutered like young men, I’ll prove the prettier of the two.” – William Shakespeare’s THE MERCHANT OF VENICE, Act III, Scene iv
The Rhetorical Review is built on the belief that local theatre, art, and storytelling deserve thoughtful, accessible, and independent coverage.
Every review, interview, and feature takes time, energy, and money to produce. Attending performances often means travel costs, parking fees, research time, and hours spent writing and editing with care.
Many local artists and productions do not receive the coverage or visibility they deserve, and The Rhetorical Review exists to help amplify those voices and preserve Utah’s artistic and cultural conversations.
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Keola received her undergraduate degrees from Brigham Young University of Hawai’i in English and music and then went on to study English literature at Weber State University for her master’s degree. She is currently pursuing her doctorate in Writing and Rhetoric Studies at the University of Utah.
The Rhetorical Review is built on the belief that local theatre, art, and storytelling deserve thoughtful, accessible, and independent coverage.
Every review, interview, and feature takes time, energy, and money to produce. Attending performances often means travel costs, parking fees, research time, and hours spent writing and editing with care.
Many local artists and productions do not receive the coverage or visibility they deserve, and The Rhetorical Review exists to help amplify those voices and preserve Utah’s artistic and cultural conversations.
Your support helps make this work possible. Even a $1 donation on Venmo helps sustain independent arts criticism and keeps this writing available to the community.
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