Festival Theatre, Malvern – until 21st October 2023
Reviewed by Courie Amado Juneau
5*****
The Merchant of Venice is of course the play with the “pound of flesh”. You know the one, although, you won’t quite know this version of it, being transplanted to the East End of London in 1936.
The use of contemporaneous music just before “curtain up” produces a “calm before the storm” effect which fine tunes the emotional triggers for what is to come – for although the Bard considered this a comedy, for me it is much more a tragedy (some humorous moments notwithstanding).
Director Brigid Larmour has not been afraid to make bold changes to the source material, perhaps the boldest being to change male characters into female ones – like the Jewish moneylender Shylock and Lancelot (into Mary) Gobbo. For some purists this might jar but for me this worked perfectly, without any detraction. I also loved the way the audience was included in the action, extending the emotional impact and engagement far beyond the edge of the stage, displaying keen directorial instincts.
Tracy-Ann Oberman gave an impressively nuanced performance as Shylock (I nearly said title character there, Shylock being so central). One moment in celebration with her people, the next subtly bargaining and scheming, the next distraught, then vengeful… A stunning performance that was nothing less than riveting. Her delivery of the “hath not a Jew eyes” speech was utterly compelling.
Speaking of famous Shakespearean lines/turn of phrases – this play is liberally sprinkled with tons of them: “All that glisters is not gold”, “If you prick us, do we not bleed?”… Although great swathes of the text are heavily cut, we have lost nothing of the essential greatness of this play.
Raymond Coulthard (as Antonio) got the joy of delivering the “…a stage where every man must play a part” speech. Another powerhouse performance from an actor totally in command of the material, I was spellbound. His wonderful rendition of Arragon was a joy as he unleashed the full throttled flamboyance of the Iberian peninsular. Flamenco-esque and one of my personal highlights.
Remember the title (1936)? The use of projection was a masterstroke here – showing newsreel footage of the British Fascists marches etc; bringing the powder keg times into sharp focus and reminding us that “old” attitudes are not as “old” as we would like to believe. A paltry word count, alas, prevents me praising each of the amazing cast in person. But I will make special mention of Gavin Fowler (Bassiano) and Hannah Morrish (Portia) whose scenes together throughout (especially the letter from Antonio revelation and the courtroom scenes) were particularly moving.
We return at the end to the Battle of Cable Street when Anti fascists stepped in where the police feared to tread. It’s never not the perfect moment for a ¡No Pasaran! stand. A timely reminder that humanity has virtuous qualities after all. The standing ovation had already begun… what a way to finish! A weighty, challenging piece that is nonetheless a most enjoyable evening’s entertainment and live theatre at its best. A production that will get many deserved plaudits, with a fabulous cast and taught direction. The best I’ve ever seen Shakespeare done and I wholeheartedly encourage you to get yourself a ticket asap.