The Merchant of Venice 1936 tells a tale of loyalty, discourse and mercy. Playing at the Royal Shakespeare Company’s Swan theatre, William Shakespeare’s incredible script is brought to life by an equally incredible cast. Sitting down to watch the show, there was a hush that settled over as the first scene played out. The audience had high expectations; and they were most certainly met. The mesmerising characterisation by the actors had the audience hooked, but the ending felt rather lacklustre.

When watching a Shakespeare show, there is an atmosphere of wonder and awe that hangs present in the air. Director Brigid Larmour sophisticatedly combines modern stylistic effects, from staging to costume, with poise. The simplistic styling of the stage is effective and helps the audience feel completely engrossed in the action playing out. Transitions are smoothly executed and the conviction behind the motivations is believable and down-to-earth. My personal favourite element of the play is the use of comedy, which is enhanced by the great chemistry between the actors. Standouts are the drunkard scene (shocking, but worth the constant laugh) and the humorous choice of Portia’s caskets. The play convincingly explores the dynamics of social class through its production decisions: this ranges from the costumes, language, and even to the props. There is never a dull moment thanks to the swift transitions.

The awe-striking interpretation of Shylock (Tracy-Ann Oberman) is a twist. The ingenious, cunning relationships she builds with her debtors are absorbing and steal the show (yes, there is even an amazingly executed gender reversal!) It becomes evident that Shylock is the master of her own demise, as opposed to her religion; it should be noted that The Merchant of Venice 1936 contains antisemitic themes and could be distressing for some viewers.

Every actor has a chance to shine – The Merchant of Venice 1936 is not a one-man (or woman) show, but rather a collective contribution of the entire cast that makes this play feel verisimilar and grounded. Whether this be from the touching friendship and deal struck between Bassiano and Antonio, to the lovers of Jessica and Lorenzo, any slight deviation from the main plot felt necessary and purposeful, as the play establishes a great connection between the audience and its characters.

The converging plot lines culminate in the law scene, where both Jessica and Portia disguise themselves to defend Bassiano against the hypocritical Shylock. The twists and turns are ever-present, leaving the audience with bated breath. The reveal is shocking, and the audience is granted a revelation as the play’s clear cyclical structure comes to light. We are reminded of the initial deal made for a ‘pound of flesh’ in exchange for the ducats.

The ending, however, feels rushed and inconsequential to the amazing build up that leads to it. Given a few extra minutes, the finale could conclude with a bang. However, The Merchant of Venice 1936 does have its redeeming qualities, such as the subtle, remarkable use of audience participation at the end to bring the show to a halt.

Rating: 4.5/4

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