The Merchant of Venice 1936 - Review

Trafalgar Theatre, London

*****

Written by William Shakespeare

Adapted by Tracy-Ann Oberman and Brigid Larmour

Directed by Brigid Larmour

Tracy-Ann Oberman

It is nearly two years since Tracy-Ann Oberman’s Merchant of Venice 1936 opened at Watford’s Palace Theatre in a production that realised Oberman’s powerfully driven mission to take Shakespeare’s classic tale and shift it through four centuries and a 1,000 miles to London’s East End at the time of Oswald Mosley and a focus on the play’s troubling antisemitic narrative. 

Since that opening however, sorrows have befallen the world’s Jewish communities not single spies, but in battalions. The barbaric terrorist assault on Israel on October 7th 2023 unleashed an outpouring of Jew-hatred across the globe in which loudly shouted criticisms of the Jewish state have proved to be little more than thinly-veiled calls for the eradication of the entire Jewish people. While Oberman’s brave production is a tribute to the heroes of the 1936 Battle of Cable Street there are moments which, when contexed against today’s globally expressed antisemitism, already make the show feel out of date.

Now at the Trafalgar Theatre before re-touring the UK, Oberman reprises her Shylock in a performance that remains steeped in the stance and tone of an eastern European immigrant. When her Shylock speaks of being spat upon and treated like a dog by Antonio and his fellow citizens, there is an understated heartbreak to the hatred that she has experienced.

A significant cast change sees Antonio, the Merchant, now played by Joseph Millson. With his character depicted as a prominent member of Mosley’s British Union of Fascists, Millson brings a sharpened gravitas and credibility to the role and a scornful hatred of Shylock that is palpable. Other notables in the cast are Gavin Fowler’s continuing as Bassanio, a performance that has matured into the character’s nuanced complexities and sexualities over the months. There is equally fine work from newcomer to the production Georgie Fellows, who carries the Mitford mantra into her take on Portia.

Interestingly, and again in the context of a 2025 viewing of the production, Grainne Dromgoole’s take on Jessica achieves a further perspective. Hers is the assimilating Jew who discards her faith to follow her love for Lorenzo but yet who, through having been born a Jew, is still scorned by the gentile fascists. Her character echoes those Jews today (and indeed other minority groups too) who appeasingly befriend their enemies while remaining blind to the underlying hatred that can lie just beneath veneers of apparent tolerance.

Watched today, the courtroom scene in which Shylock having already lost his family is now stripped of his fortune and his faith, brings a chilling resonance that Oberman and Larmour in writing their adaptation could scarcely have imagined. Their production may have transported the Duke and his court from Venice to London, but in events that have mirrored the 19th century Dreyfus trial, 2024 has seen new Dukes emerge to hold Jew-hating courts in Pretoria, The Hague and Dublin to name but a few. 

Shakespeare had his Shylock exit the play in act four. In Larmour and Oberman’s truncated fifth act, the devastated moneylender remains on stage throughout, her presence a haunting reminder of the destructive power of hate.

Back in 2023 The Merchant of Venice 1936 was compelling. Two years later it stands as essential and unmissable theatre, brilliantly performed.

Runs until 25th January, then tours

Photo credit: Marc Brenner

The Merchant of Venice 1936 - Review

Watford Palace Theatre, Watford

****

Written by William Shakespeare

Directed by Brigid Larmour

Tracy-Ann Oberman and cast members

To read my interview with Tracy-Ann Oberman click here

For the second time in six months, the dramatic whirlwind that is Tracy-Ann Oberman has seen a play open that has not only been her brainchild, but has boldly and bravely put antisemitism firmly centre-stage. Her first foray into this field was at the Royal Court in September in what turned out to be a flawed piece of modern writing. This time however, by setting The Merchant of Venice to a backdrop of British fascism in the 1930s, Oberman has hitched the wagons of her creative firepower behind probably the greatest ever writer of English literature and the result is impressive.

The Merchant of Venice 1936 is an exciting interpretation of one of Shakespeare’s most troubling comedies and set against the era of Oswald Mosley and the British Union of Fascists, one sees how easily the Jew-hatred of the Venetians can be translated across the continent to the British Isles. Pause longer, to consider the real impact of Jew-hatred in Europe that blazed in furnaces at that time and the reflection becomes even more chilling.

In a gender swapped Shylock, Oberman transforms the Jewish moneylender into a thickly accented matriarch. An immigrant from eastern Europe, her Shylock is drawn from her great-grandmother who hailed from Belarus and with an opening scene that includes lighting the sabbath candles and blessing a glass of kosher wine (dozens of which are shared with the audience in an opening mise-en-scene) Oberman makes a bold statement that this production of The Merchant of Venice will be firmly rooted in Shylock’s Jewish heritage and the hatred that she and her community endured then and to this day.

Oberman makes fine work, not just of Shylock’s complex motives, but also of some of the most cracking monologues in the canon. Hearing a woman complain of being spat upon, kicked and mocked takes the play’s already present antisemitism and fuels it with a deeply disturbing misogyny. That the homosexual love between Antonio and Bassanio is so strongly signalled in Brigid Larmour’s direction, only adds a troubling depth to the woman-hatred that this Shylock suffers.

The supporting cast are all sound, with standout work from Raymond Coulthard as the fascist Antonio and Hannah Morrish as an icily Mitford-esque Portia. Indeed, when Jessica (Graine Dromgoole) finds herself having eloped to Portia’s Belmont, the diffidence with which she is treated by her hostess together with her coterie, offers a subtle further take on the immigrant Jew as an outsider, never to be truly adopted into their country of residence however hard they may try to assimilate.

Erran Baron Cohen has composed an intelligent musical  soundtrack to the play – part schmaltzy Jewish melodies that reflect the scenes in Shylock’s home contrasted with ingeniously Cole Porter-esque tunes that reflect the profound antisemitism of the champagne-quaffing patricians. Liz Cooke's design work on set and costume offers up an effective transition between London’s East End poverty and Belmont’s beauty, while her fascists are elegantly clad in black, as Oberman’s Shylock sports a stunning fur trimmed coat.

If there’s a flaw it’s that perhaps the finale’s segue into the 1936 Battle Of Cable Street is an overly abrupt jolt that follows hard on the gentility of Belmont. Equally there’s a disappointing use of the Union Flag draped around the shoulders of a fascist thug. While the flag may well have been adopted by some uglier aspects of society, it has also been a symbol to immigrants as they stepped off the boat, especially those fleeing persecution, of a land that represented hope and opportunity. 

Tracy-Ann Oberman’s production is fine, informative theatre. The Merchant of Venice 1936 offers up not just classic verse, but also a history lesson on this country in the early 20th century. Well worth seeing.

To read my interview with Tracy-Ann Oberman click here

Runs to 11th March and then tours

To book for Watford Palace Theatre, click here

 Photo credit: Marc Brenner

Dick Whittington and His Cat - Review

Watford Palace Theatre, Watford

****

Written by Andrew Pollard

Directed by James Williams

Watford's festive offering is a delight.

Taking the traditional tale of Dick Whittington who overcomes all odds to become Lord Mayor of London, Andrew Pollard's iteration sees Dick and his cat TumTum (Louise Cielecki) journey from poverty to the mayoralty via Alice Fitzwarren's Flan Factory and even Xanadu (yes, me neither..)

Anyway - this is pantomime and no-one cares too deeply about the plot so long as the baddie ultimately gets their come-uppance and Dick and Alice can live happily ever after and at the risk of a spoiler, that's exactly what happens!

Reece Evans plays the title role, with his magnificent Dick ultimately vanquishing the equally magnificent Natasha Lewis as the villainous gangster rat, Verminia Yobb. 

Terence Frisch, Watford's resident Dame is sensational as Sherrie Trifle, with stunning costumes and top-notch banter. Frisch's first-act tongue twister, a masterclass in the alliteration of F words (all clean of course, this is a family show) proves a comedy highlight of the show.

Rhiannon Bacchus as Alice proves feisty and demure in equal measure before falling for Dick's charms, and with a Beatles megamix for the grown-ups and loads of slapstick and "he's behind you!" for the kids, this pantomime has it all.

Cleo Pettit's designs and gorgeous backdrops are a delight, while Ryan MacKenzie's three piece band keeps the musical tempo pulsating.

On until the new year, Dick Whittington and His Cat is quite the perfect Xmas treat.

Runs until 2nd January 2022

Equally Divided

Watford Palace Theatre, Watford

***

Written by Ronald Harwood

Directed by Brigid Lamour

This review was first published in The Public Reviews


Beverley Klein (l) & Katharine Rogers


Equally Divided returns to the Watford stage, some 15 years after Ronald Harwood’s work first opened. It’s a curious literary concoction, part comic, part tragic and in part questioning important social and moral dilemmas that include loneliness, envy, rejection and the experience of second generation immigrants. The scope of Harwood’s writing is however so vast, that rather than studying any one of these difficult areas in depth, the author addresses far too many questions with a scatter-gun approach that too often resorts to shallow caricature. And so for a writer of such wisdom and talent, the play is ultimately a disappointing journey.


Notwithstanding, the cast of four are all engaging and as Edith Taylor, the protagonist, Beverley Klein delivers a virtuoso performance. Her character is the elder of two sisters, in her fifties, whose own sense of purpose in life has been drained from her by a manipulative mother recently deceased. We learn how in her final years, Edith provided round-the-clock personal care to her mother, whilst her sister Renata (played by Katharine Rogers) barely visited. Rogers too gives a noble performance. Her character has been married twice and wealthily, and is a woman who is sexually and financially fulfilled, albeit in therapy. Harwood however could not have made Renata more of a cliché, particularly when contrasted with the empty and drab sexless vessel that is Edith’s life. Albert Camus’ Cross Purpose, recently at the Kings Head in London, drew a similar picture of dourness far more succinctly.  To this production’s credit however, Klein – who is rarely off stage and with a script that gives her almost as much monologue and soliloquy as it does dialogue – rises to the challenge. The talented actress coaxes subtle (and sometimes blatant) nuance and pathos from almost every word, with a performance that is possibly reason enough alone to see the show.


The two men in the play are local solicitor Charles and antiques dealer Fabian. Walter van Dyk as the widowed lawyer plays a hapless twit of a provincial professional, besotted with Renata and blind to the initially desperate desire that Edith has for him and makes the best of a poorly developed cardboard cut-out of a character. Gregory Gudgeon as the lovable rogue antiquarian is sketched out by Harwood with such ambivalence , that one is ultimately not sure if he cares for Edith, or is ripping her off. This may well be the writer’s clumsy intention, but towards the end of the play, one is possibly beyond caring.


The text has several poetic references that Brigid Lamour has highlighted in the programme. The literary connotations are clear, but one cannot help but feel that if Edith had been given to recite Larkin’s famous This Be The Verse, we could all have been heading for the bar an hour earlier. Harwood writes of dispersal and of the desire of the immigrant to fit in. At times his analysis has pinpoint precision and is a true baring of his soul and of his experience. But whilst he clearly understands displacement and transience, this piece of theatre fails to move.


Runs to February 23rd