The Merchant of Venice
The Royal Shakespeare Theatre
Stratford-upon-Avon
4/5

DIRECTOR Polly Findlay, determined that what we see in the theatre reflects the world we inhabit, has a huge mirror filling the entire back wall of the stage in this production of The Merchant Of Venice.

Further expunging theatrical illusion, she has the cast in modern-dress rehearsal mode as they sit in view throughout awaiting their cues, only donning formal clothes for the pivotal trial scene.

The common charge of anti-semitism made against Shakespeare’s play, known in Elizabethan times as The Jew of Venice, is often countered in modern productions by pointing up his portrayals of the hypocritical facade of Venetian Christian society.

Here, Findlay recognises a ubiquitously cruel self-interest in human nature, encapsulated in the line: “Which is the merchant here? And which the Jew?”

In a production which is determinedly unsentimental, Jamie Ballard’s neurotic Antonio is consumed by his barely controlled homosexual longings for Jacob Fortune-Lloyd’s Bassanio, who exploits his friend’s feelings to fund plans to win Patsy Ferran’s wealthy Portia.

The magic land of Belmont, with its “casket choices” is undermined by Portia clearly nudging Bassanio to pick the right one.

There is no lyrical romanticism either as the “On such a night” duet of Lorenzo (James Corrigan) and Jessica (Scarlett Brookes) escalates into an increasingly angry exchange. The women of Belmont have to realise they are predominantly financial prizes. Belmont and Venice share the same values.

The acclaimed Palestinian-Israeli actor Makram J Khoury provides impressive ballast for the young cast. His Shylock understands the nature of a society that literally spits in his face as it negotiates to borrow money.

His famous “Hath not a Jew eyes?” speech is no sympathetic appeal for a common humanity but a statement of his newly acquired legal power over the bankrupt Antonio.

The production inevitably climaxes in the trial scene. With the stage awash with paper money rejected by Shylock in favour of his potential bloody revenge, the frustrated wolf pack — at the same time pleading with him for mercy and baying for his blood — face Khoury’s relentless obduracy.

With mock curiosity, he examines the legal document allowing him his pound of flesh, seeking the clause requiring him to show mercy. “I cannot find it, ’tis not in the bond,” he intones.

As this production slips into gear it will surely gain stature and remain in the memory as a bleak take on the human condition at a time when the shared bonds of human compassion appear increasingly fractured.

Runs until September 2, box office: rsc.org