As you look through the images and photographs from past productions of The Merchant of Venice, think about:

• What choices the designers have made in terms of what the characters are wearing. What does this say about each of the characters? What are the differences between the two men? Are there any similarities between the characters or across the different productions?
• These images are all taken from the early scenes of the play in Venice, introducing Bassanio and Antonio. What do you notice about their closeness or lack of? These scenes involve Bassanio asking for more money. What clues are there as to how both characters are feeling about that? In the 2011 production, for example, the events of the play are set in a casino capital, like Las Vegas. Do you think money might have a different meaning in this kind of setting and what impact does it have that you see them in a casino environment?
• How the relationship between the two men comes across in each production. In the 2015 production Polly Findlay was influenced by the fact that, later in the play, Bassanio gives away his ring from Portia at Antonio's request. This could imply that he values his relationship with Antonio more than his marriage to Portia. There could be lots of reasons for this, for example he has only known Portia for a very short time. In contrast, Antonio has taken risks for Bassanio throughout the play and it is interesting to consider why. What clues do these images offer about the interpretations made in these productions?

How would you choose to stage this moment and what choices would you make to help show the mood in this scene?

As you look through the images and photographs from past productions of The Merchant of Venice, think about:

• How the designer has brought the court room to life. Which one looks most vivid and imposing to you and how has the designer worked to create the sense that this might be a sinister or violent setting? How important is the threat of violence and which production feels most threatening? In the 2011 production, for example, you can see a large hook on stage which will be used to raise Antonio up. What atmosphere does this create in comparison to the alter-like table Antonio is made to lie on in the 2008 production?
• The placing of individual characters. This scene is a confrontation between Shylock and Antonio with a number of spectators and intermediaries. How has each production emphasised the rivalry between Shylock and Antonio? Who seems to be in control in this setting? Several of these productions have placed Antonio on a lower level, often bound. What does that do to an audience, even those who know the play well? Where has the Duke been positioned, or is authority missing from the court setting?

How would you choose to stage this setting and what choices would you make to help show the function of the court and give the audience a sense of what might happen there?

As you look through the images and photographs from past productions of The Merchant of Venice, think about:

• Who is present in these photographs. What does it reveal that Antonio is always present, along with Portia? Are these final moments just about the three couples and their new lives or is there more to be resolved here? How does Portia come across?
• Does everyone on stage look happy at the end or do the characters seem to have different moods at this point? What can you tell about the characters from the costumes they are wearing and the props they are using? For Portia and Nerissa, this is the moment where they reveal what they have done to Bassanio and and Gratiano, and is also the first time the audience have seen them all together out of their disguises. Do you think this has impacted on the staging and design?

How would you choose to stage this moment and what choices would you make to help show the mood in this scene? Are there any question marks over the future of these couples that you would want to leave the audience to consider?

As you look through the images and photographs from past productions of The Merchant of Venice, think about:

• What choices the costume designer has made in terms of what Lancelet is wearing. Can you tell from his clothing that he is the ‘clown’ of the play, or does he look similar to the other Venetians? How has he been made to stand out?
• What you notice about the actors’ physicality and their body language in these images. Can you tell from their bodies and their faces that they are playing a trick? Or is there something else that suggests there is some mischief taking place? In the 2015 production, for example, the actor playing Lancelet Gobbo had a seat in the audience and would interact with them during the performance, sometimes improvising. This freedom separated his character from the others and created a different connection with those watching. What else can you observe in these shots?

How would you choose to stage this character and what choices would you make to help show his status and role?