Tracy-Ann Oberman in THE MERCHANT OF VENICE 1936. Photo Credit: Marc Brenner
This powerful reimagining of THE MERCHANT OF VENICE 1936 highlights the play’s enduring relevance, with standout performances and a chilling portrayal of historical and modern antisemitism.
The well-known saying that those who do not learn from history are doomed to repeat it feels especially relevant in this striking and audacious production of THE MERCHANT OF VENICE 1936. Using Shakespeare’s own words, the play draws striking parallels between the Jews in Elizabethan England, 1936 England, and, arguably, modern-day Britain. It is telling that this production faced threats and controversy only months ago.
Setting the play in 1936 is a clever choice, giving the audience a “touchstone” that we have all grown up with in the rise of fascism. It also makes the characters’ antisemitism more explicit to a modern audience, particularly in Portia’s frank hatred, which Georgie Fellows delivers with naked fury in a remarkable performance.
The cast of THE MERCHANT OF VENICE 1936. Photo Credit: Marc Brenner
The ensemble cast is outstanding, with notable performances from Gavin Fowler as the foppish and weak Bassanio, Grainne Dromgoole as the besotted Jessica, and Joseph Millson’s Antonio, whose menacing presence is a chilling delight. The moment Antonio gives a Nazi salute within minutes of the play results in an uneasy frisson of disgust and shock from the audience – as well it should.
The mesmerising star of the show is Tracy-Ann Oberman, who delivers a Shylock that fiercely resists the unfair treatment and persecution she faces. The Jewish identity of the character is very much in evidence, with Hebrew phrases and prayers woven throughout.
The portrayal of Shylock’s greed is toned down, with even the initial money lending to Antonio presented as a straightforward transaction, though the irony of her past mistreatment is made clear. This Shylock is a hunted figure, no more so than in the court scene. The performance is undoubtedly a very personal work for Oberman and a short speech at the end of the play about her reasons for choosing this work leaves many in the audience with moist eyes and a well-deserved standing ovation.
Xavier Starr in THE MERCHANT OF VENICE 1936. Photo Credit: Marc Brenner
A special mention must go to costume and set designer Liz Cooke, lighting designer Rory Beaton, and sound designer Sarah Weltman. Their use of backdrops, projections, and audio firmly establishes the setting in the East End of 1936 in all its fascist intimidation glory.
Under Brigid Larmour’s nuanced direction, the play trimmed of excess fat, with some characters given the lines of others, a few removed, and Shylock’s friend Yuval substantially altered. Yet, the work does not suffer for this, and instead moves relentlessly along and with no significant alteration in the tone or message.
THE MERCHANT OF VENICE 1936 is a morality tale of avarice, judgment and fear. It is a stark warning about power, pride, unrest, and ambition that is bold in breadth and powerful in delivery. It’s remarkable to think that a work written by Shakespeare around 1597 still holds such powerful relevance more than 400 years later, and it deserves all the plaudits that it has received.
THE MERCHANT OF VENICE 1936 runs at The Lowry, Salford, until 1 March 2025
Gillian has a Masters degree in Film Theory and a background in music journalism. A veteran of gig promotion, she loves nothing more than a darkened room, a packet of Revels and a good play. By day she works in medico-legal administration, by night she escapes into theatre for relaxation.
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