★★★★
A scene of careless destruction—overturned tables, chairs askew, belongings scattered—is carefully reassembled by a Jewish community as The Merchant of Venice 1936 opens at the Playhouse Theatre, Liverpool. They are celebrating, they seem unperturbed—perhaps unsurprised, as the audience warm up to a sense of unease. It is 1936, Britain, in London’s East End where Shakespeare’s questionable play is set in this modern retelling.
Directed by Brigid Lamour, this adaptation has Jewish moneylender Shylock (Tracy-Ann Oberman) in the form of a successful businesswoman and single mother. Shylock lends money to Antonio (Joseph Millson) in return for a ‘pound of flesh’ if the debt goes unpaid. The bitter exchange between the two reflects the attitudes of both Shakespearean times and the 1930s, putting religion at the centre of social issues with Christians and Jewish people on opposing sides of the story. When it becomes clear that Antonio cannot repay his debt, justice unfolds in a courthouse with Shylock demanding her ‘pound of flesh’. Invariably the tide turns on Shylock as the force of the prevailing attitudes towards Jewish people in 1936 plays out in the form of twisting the law to suit the perpetrators.
Scenes are interspersed with striking projections on the backdrop of the set of the British Union of Fascists marching in London in 1936. It is a stark reminder of pre-war tensions accelerating across a multitude of countries and how incendiary they were. Juxtaposed with Shakespearean literature, the message of timeless animosity is clear. Echoed in the abuse that Shylock faces in the street and on her graffitied house, anti-Semitism is woven into the performance of a play widely discussed as being anti-Semitic from its initial publication.
Oberman is captivating in her role of Shylock, commanding the stage and bringing the script to life from powerful monologues to quick wit. The wider cast carry strong performances with Georgie Fellows playing the wily, strong Portia with particular conviction. As the performance continues the atmosphere grows darker and the violence towards Jewish people escalates. The projections of footage of the fascist movement in 1930s London follow at the same pace, as the tension ratchets up.
The culmination of the show is a stark reminder of how communities must stand up in the face of adversity, today more than ever. Whilst feeling a little rushed, clambering straight from the downfall of Shylock to the East End’s defence against the fascist movement, the importance of the message cannot be overstated. It cements the poignancy of The Merchant of Venice being remastered to highlight anti-Semitism then and now. The polished performance acts as a warning, almost a call to arms, and certainly makes for an accessible, imperative watch.
The Merchant of Venice 1936 is currently on tour, finishing at Richmond Theatre on 12 April.
Words by Hannah Goldswain.
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