Photo: Marc Brenner
The authenticity in this production is what struck me at rst, with the Jewish culture and language centre-stage for the preamble. And it didn’t matter that we may not understand what they were saying or doing, it was unapologetic. A sentiment carried through the whole production, which was a novel idea, as it gave the relic script a new tenacity and sense of place in the present which is far removed from when Shakespeare was writing.
That authenticity is also what made me realise that this piece really was an example of how these celebrated plays can be relevant to today and still teach us something about the human condition.
The cast, albeit small, was able to take on the responsibility of a much larger selection of characters. Their ability to multirole was not only impressive but also unlocked a layer of farce and humour in what is a mostly heavy-themed and political production. Particular highlights were Joseph Millson and Evie Hargreave as Antonio/Arragon and Mary/Nerissa respectively, their exuberance and accent shifting ability loved by the entire crowd. Not to mention the audacity of Georgie Fellow’s Portia.
Tracy-Ann Oberman as the first female Shylock was particular and full-bodied in her performance. Her female nuances and maternal drive in an exclusive male world was complex and believable, begging the question why has this not been done before?
Sitting way-up in the gods was a challenge for this production, however, the delivery and tension managed to still draw me in. Each actor was driven, energetic and committed to the story and it has really been given a new lease of life. Which easily explains its sell out run and early success on its UK tour.
The themes of this play (some personal as Tracy will announce) of place, acceptance and religion, are what make this production so successful. Though the lives onstage exist in 1936, this story could easily translate to yesterday or tomorrow.
It is important to watch this play, from whatever political stance, heritage or religion you may have. This is how Shakespeare can be interesting and engaging and it should be the palimpsest for all future adaptations.
The production is touring around the country until April. It remains at Liverpool’s Playhouse until 8th February before playing at Bath Theatre Royal from 10th – 15th February.
You can find more information on location, dates and tickets via the show’s website here: https://merchantofvenice1936.co.uk/
Reviewer: Hannah Esnouf
Reviewed: 4th February 2025
North West End UK Rating:
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