Review: The Merchant of Venice 1936, Theatre Royal Bath – ‘Superb, vital, and utterly absorbing’

When a play sends tears down your face, there’s an obligation to say “GO” straight away, so I urge you: book now. It’s in Bath ‘til Saturday – if you can’t, find tour venues and book.

Why such instructions? Shows often claim they’re relevant, important, urgent – but this really is.

Here’s an essential skate though the tale. A Jewish money-lender, Shylock, has lived with anti-Semitic abuse for years, not least from Antonio. Now, Antonio needs cash to lend his best friend, Bassanio, so that Bassanio can court orphan heiress Portia.

Antonio would normally have the cash but his boats (his assets) are all at sea. Gritting his teeth, he asks Shylock for a loan. He’s so confident he’ll repay it, he agrees Shylock’s terms: that if he defaults, he’ll give Shylock a pound of his flesh, from any part of his body Shylock chooses.

The Merchant of Venice 1936 – Tracy-Ann Oberman as Shylock and Company

But Antonio’s boats wreck, the debt is forfeit and so Antonio must offer up flesh. Meanwhile, Bassanio’s won and wed Portia (and his mate’s wed her servant), and Shylock’s daughter Jessica has run off with another of the boys, taking Shylock’s treasure with her.

The courts uphold Antonio and Shylock’s bond – but the judge is Portia in disguise. S/he decrees that Shylock can take the flesh but can’t shed an ounce of Christian blood – and for seeking to take Antonio’s Christian life, Shylock must surrender everything – including Judaism. Antonio lets Shylock keep some property, and they all live ever after.

What this production – adapted by director Brigid Larmour and star (Shylock) Tracy-Ann Oberman – does is set us in London in 1936. It’s when Oswald Mosley’s British Union of Fascists were on the rise (in parallel with Hitler).

Tracy-Ann Oberman as Shylock

British people walked the streets in fascist uniforms, made fascist salutes, painted anti-Semitic graffiti on Jewish properties. The police defended the BUF’s right to march through London on 4 October, and thousands and thousands of ordinary Londoners stood together to fight them in Cable Street, under the slogan, “They shall not pass”.

Larmour and Oberman book-end Shakespeare’s text with Jewish custom and song. Throughout, we see contemporary anti-Semitic propaganda and footage of British people on the streets raising their arms in fascist salutes. We hear smashed windows and the sound of marching boots. We were not so different from other parts of Europe.

Tracy-Ann Oberman as Shylock, with Alex Zur

Oberman is a superb, absorbing Shylock. Seeing a woman in the role adds a whole fresh layer depth that will stay with me for life. Joseph Millson is a truly believable fascist Antonio; chilling and entitled. Portia is played as a vile Mitford-esque starlet (Nancy Mitford married Mosley; her sister Unity was one of Hitler’s inner circle) by Georgie Fellows, and Gráinne Dromgoole excellently depicts Shylock’s daughter Jessica who realises – too late – that these people will always see her as a Jew.

Erran Baron Cohen’s music and Sarah Weltman’s sound are superb, Rory Beaton’s lighting outstanding, Liz Cooke’s costume and design pitch-perfect. I wish I could name more, but space forbids. I know what – go, and see – no – go, and experience it –  for yourself. This is important.

 

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The Merchant of Venice is at Theatre Royal Bath on February 10-15 at 7.30pm, with additional 2.30pm matinee shows on Wednesday and Saturday. Tickets are available at www.theatreroyal.org.uk.

All photos: Marc Brenner

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