It is always a huge undertaking reimagining the work of Shakespeare to make it feel fresh and relevant, but even more so to be able to successfully juxtapose its content with real historical events to which there is no prior link. This new take on Shakespeare’s The Merchant of Venice, set largely in 1936 London amidst the prevalence of Oswald Mosley and his fascist ideology, is a remarkably clever concept, and one that shouldn’t work, yet somehow it enhances Shakespeare’s original text by adding that extra layer of realism.
It’s not often a Shakespearean classic is reimagined so completely from its roots, yet still manages to respect and embody the essence of the original story, for which Brigid Larmour can only be applauded. In some ways it’s surprising that a similar interpretation, in which the link is made between this particular piece and the rise of the third reich, hasn’t been translated to a fully staged production until now, as the anti semitic undertones are fully at the forefront of Merchant of Venice’s narrative.
What works especially well creatively is that the production doesn’t over or under embellish in terms of how it’s staged. There is some wonderful set design by Liz Cooke, and Rory Beaton’s use of lighting, along with Greta Zabulyte’s video design, in particular, is stunning yet harrowing, as we are presented with real life projected footage from 1936 east London, and the ever present threat of the British Union of Fascists.
Director Larmour hits the balance pretty perfectly, as the visual elements don’t detract from what’s happening between the characters, they enhance the storytelling whilst simultaneously giving it the space to speak for itself. If I had one minor critique, it would be that a smidgen of narrative clarity is lost in translation at times, however for the most part we are able to traverse the bard’s text fairly well, plus the final scene, depicting the Battle of Cable Street, is wonderfully executed.
The true centrepiece of this production though is the stellar cast. Georgie Fellows as Portia gives a delightfully layered performance, and Gavin Fowler’s take on Bassiano is sturdy, impassioned and full of vigour. The majority of the cast additionally played more than one role, most notably Evie Hargreaves is deliciously funny in her dual role of Mary/Nessa, given ample freedom to play to the audience.
However, it is Tracy-Ann Oberman who really ties everything together. This is very much her show, as she brings true fire and ferocity to the role of Shylock, portrayed as a Jewish matriarch downtrodden by a cruel and inhumane regime, yet standing strong regardless through her wish for her pound of flesh, more as a response to the perpetuated Mosley ideology rather than any kind of personal vendetta, as prevalent as this may be.
If you find the great bard difficult to follow or get into, whilst not perfect, this production keeps you intrigued and engaged throughout, due to its dichotomy between two completely contrasting eras linked rather potently by their themes, and how they play off of one another so well, providing us with a Shakespearean classic for the ages. Sadly, though first and foremost the play is a portal to the past, it also, unfortunately and most devastatingly, holds a mirror up to global current affairs, so one wouldn’t be remiss in stating the timing of this production could not be better.
The Merchant of Venice 1936 runs at Liverpool Playhouse until Saturday 08th February.
★★★★☆ (4*)
Gifted tickets in return for an honest review | Photography by Marc Brenner
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