This revival of The Merchant of Venice feels timely and well chosen. Given current political and social climes, amidst Brexit, a rise in antisemitism and the far right, as well as global conflict this piece resounds with a crash in a centre of London location that is quite literally underground at the Criterion Theatre.

The play which, like many of Shakespeare’s focusses on multiple narratives. The main two being the struggle between Antonio (A Wealthy Merchant) who finds himself indebted to Shylock (A money lender) and secondly the wooing of Portia by various suitors and Bassanio via what seems a game of cunning and chance.

The action has been transposed from Venice to East London in 1936 amidst the rise of Sir Oswald Mosely and the black-shirts. Shylock has been transformed to a Jewish matriarch played with irrepressible strength by Tracy-Ann Oberman, who’s connection to the subject matter is palpable. She plays the notoriously difficult character with skill and charm. This is balanced beautifully by Raymond Coulthard’s Antonio who goes from pride to pain with such realistic ease. Similarly, Hannah Morrish invites us directly into the world with her performance and allows us to see both the beautiful and ugly side of Portia.

In fact, the entire cast have a brilliant grasp and connection to the text. Unlike many recent Shakespeare productions, without exception, every single member of the cast has a brilliant comprehension and understanding of the sense behind the verse they are speaking. Added to this text was always easily heard and understood. There were a few moments where some ensemble reactions were a little overplayed but for the most part the whole ensemble build to a brilliant touring show.

A touring show, is what this feels like though, which to be fair is understandable seeing as the show had a very well received tour before this west end residency. The direction, brilliantly smooth and connected from scene to scene by Brigid Lamour and performances feel held back by a set design that facilitates the production rather than bolsters it. With a 5-week residency the functional set, props and design could have done with a step up.

The show is bookended with an almost Brechtian breaking of the fourth wall and throughout we are uncomfortably reminded of Britain’s previous right wing leaning with projections, video and lighting work facing us with headlines displaying the rise of far-right wing views in the lead up to Cable Street clashes. These don’t quite sit comfortably within the framework but the impact is strong and warranted.

Shakespeare purists may struggle with some of the changes made to the problematic play with characters cut, joined, regendered, renamed and the text heavily edited but every decision does seem to be made with due thought and cause so this seems hardly in need of mention apart from as a warning for traditionalists.

This is a relevant and pertinent version of the tricky Shakespeare comedy and for anyone with an interest should be worth a visit to the theatre.

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