The timing of this production could not be better, setting as it does one of Shakespeare’s most problematic plays amid the rise and fall of Oswald Mosley’s British Union of Fascists in mid-thirties England.
With certain tech giants performing “Roman salutes” and the frightening rise of fascist political parties taking place across Europe, we seem to be returning to the dark days of the 1930s. This adaptation of Shakespeare’s play powerfully brings to life the vicious remorselessness of bigotry and how it can be fought and defeated.
Projected onto the back wall were the sensationalist antisemitic headlines of the day, newsreel clips of fascist marches and Mosley’s call for “Britain First.” The frightening echoes of what is happening now were stark but the play also reminded us that the working class of the East End stood together with the Jews in the Battle of Cable Street to see off the fascists.
Shylock is reimagined as an East End matriarch, a shrewd businesswoman and a proud Jew. Inspired by her great-grandmother Annie, Tracy-Ann Oberman, with director Brigid Larmour, used testimonials from The Battle of Cable Street to help them realise their vision.
Oberman’s Shylock was measured, authoritative and extraordinary in its intensity. At times she is vulnerable and at other times vituperative. Our sympathies are completely with her and we feel all her pain as she faces both petty slanders and outright violence. She completely held the stage in what was a consummate performance.
Joseph Millson (Antonio) was equally impressive giving a controlled and convincing portrayal of a very complex character. He is a confident businessman, a loving friend and a man willing to nobly face up to his punishment. Yet underneath these virtues, we find he is a deeply prejudiced person who essentially only values himself.
There were comic moments in the play not least the scenes where suitors of Portia (Georgie Fellows) had to choose the right casket to marry her. Fellows played the rich heiress with more than a touch of Fleabag-like free-spiritedness and savvy. She came into her own in the court scene and I assume the suit was meant to be too big for her.
Another thread in the production was the homoerotic relationship between Antonio and Bassanio (Gavin Fowler). There are moments when it is barely suppressed but at others, they want to appear as if they are just good pals and nothing more. Fowler brought a mellow spirit to this rather weak character who seems to need other people to help him through his battles.
The play has been pared back, reworked and was efficiently directed by Brigid Larmour. It moves along at a good pace and its theatricality works in the contexts of its themes and intention. There was no filler, meaning we were left with a very impressive intense piece of theatre.
At the end, there is an impassioned plea for people to work together to fight bigotry and prejudice and I learned something about Manchester’s own proud tale to tell in the battle against Mosley’s thugs.
It is rare these days to come across powerful, accessible theatre with a political message and I would urge anyone to go and see this show.
It continues at the Lowry until the 1st March, it then continues on tour around the country. For more information, go to – https://merchantofvenice1936.co.uk.
Reviewer: Adam Williams
Reviewed: 25th February 2025
North West End UK Rating:
Rating: 5 out of 5.
