The Merchant of Venice 1936
“TO WAKE THE SOUL BY TENDER STROKES OF ART”
These are the words inscribed above the stage at the beautiful Frank Matcham designed theatre at Richmond. And for this production of Shakespeare’s The Merchant of Venice, adapted and reimagined to the East End of London in the 1930’s, by Tracy-Ann Oberman and Brigid Larmour, it seems very apt. This production is so thought-provoking and striking.
The resetting of this problematic play also sees Tracy-Ann Oberman playing the Jewish matriarch, in a gender reversal, who goes up against the fascist ‘Black Shirts’ as led by Oswald Moseley, in 1930s London. Smashed glass off stage echoes Kristallnacht, it immediately sets the scene.
The start of this production cleverly involved the cast weaving around the audience to include them in the Passover blessing and celebration.
Oberman’s Shylock demands “a pound of flesh” from Antonio (Joseph Millson) to exact justice and is punished with a forced conversion to Christianity as part of the play’s rather contrived ‘happy ending’. In this version, Antonio is a 'Black Shirt' while Portia (Georgie Fellows) is a Mitford-style aristocrat. Both are charming, yet chilling.
Shylock is played by Oberman as a dignified woman, who is spat upon and abused by powerful men, and who has antisemitic graffiti painted on her door. There is a real sense of danger. She displays a great inner strength. She has an outraged response to the antisemitic persecution – and a fearful defence against the rising danger. “If you prick us, do we not bleed?” is her plea for tolerance and understanding. Hers is a powerful performance. Charismatic. You feel real sympathy for this character, particularly when daughter Jessica betrays her, and at the end when the corrupt system punishes her. Her performance is riveting.
Shylock & Jessica worked especially well as a mother-daughter relationship. Jessica, played by Grainne Dromgoole was quietly rebellious, and hers was an understated effective performance to contrast with Oberman’s dignified and fiery one.
Georgie Fellows is also excellent as Portia, initially charming but then shocking at the end with her treatment of Shylock. Joseph Millson is also chilling as Antonio. Xavier Starr shines as Gratiano, a drunken upper class thug.
The look of this production was just perfect. From the striking period costumes with the silk dresses, to the smart suits and then Nazi inspired outfits to the set designs. It all works extremely well.
The play itself has been cut and lasts around 2 hours including the interval. The trimming of some of the Shakespeare filling, and re-framing, is very successful in putting Shylock at the centre of the story.
The projections used also detail effectively the impending danger with Moseley’s 'Black Shirts' on the march, and their antisemitic slogans.
The ending does seem a little disjointed as we see Shylock’s downfall, and then watch her and her East End neighbours standing up for the Jewish community during the Battle of Cable Street. But maybe that’s also the point? To make us sit up and take note and challenge our thoughts? And for us to ensure that history does not repeat itself.
This is a very interesting and thought-provoking production. The setting to 1936 East End of London was extremely effective. In these currently uncertain and worrying times, it tells an important message. Well worth catching whilst it’s on its current tour.
This show was reviewed on the 8th April 2025 at Richmond Theatre where it runs until the 12th April 2025. Tickets available here: The Merchant of Venice 1936 Tickets | Richmond Theatre in Greater London | ATG Tickets
For full tour dates please visit: The Merchant of Venice 1936
Review written by Ruth Hawkins
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Photo credit: Marc Brenner
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