The Globe’s interpretation of The Merchant of Venice is the second of three productions of this play I’ll be seeing this year, having already enjoyed the Almeida’s revival of Rupert Goold’s 2011 RSC take on the play which moved the action to a Las Vegas casino and with the RSC’s current production still on my to-watch list. The Almeida’s production was incredibly innovative in interpreting the play, which has to be one of my favourites of Shakespeare’s works, so I was both nervous and excited for Jonathan Munby’s offering.

I needn’t have worried. One of my friends often describes Merchant as being an “anti-human” play, with the moral ambiguities of all the characters being ever-present as the action unfolds. This production very much followed those lines of thought. Dominic Mafham’s Antonio is violent towards Shylock. The scene where the bond is initially agreed upon is a prime example, with Antonio resorting to physical violence after very little provocation. His final conditions for Shylock to turn Christian and leave all his wealth to Jessica and Lorenzo are delivered almost gleefully, taking pleasure in Shylock’s obvious distress. Opposite Jonathan Pryce’s Shylock, who appears almost pushed into his decision to extract the bond after finally reaching his limit with the cruelties of the Christians, this contrast is even more striking. Yet Antonio is shown as sympathetic in places too. His unrequited love for Antonio remains ever in the subtext of the play. Finally, it is made explicit after the court scene. Antonio and Bassiano hug in celebration of their victory over Shylock and how Antonio’s life was spared. Antonio leans in for a kiss, Bassiano pulls away. It was a powerful moment, reminding the audience just how much Antonio was prepared to do for love of his friend with little chance of ever gaining reciprocation.

The highlight for me, though, was undoubtedly Phoebe Pryce’s portrayal of Jessica. Her struggle to transfer from Jewish to Christian society was constantly highlighted in her scenes. Having Jessica and Shylock deliver some lines to each other in Yiddish, for example, helped highlight the Jewish heritage that she was having to discard for Lorenzo’s sake. Throughout the second act, we see her gradually start to mimic the behaviour of the other Christian ladies, although going by her obvious jealousy of Portia, this appears to have been more influenced by her insecurities in her relationship with Lorenzo. One particularly beautiful moment for me was the end of the play. Instead of focusing on the Christian lovers at the end of the play, as usually happens, Munby chooses to make Jessica the centre of attention. She is the one handed the letter detailing Shylock’s ultimate fate, sinking to the floor and beginning to sing in Yiddish as the full implications of what Shylock’s future will be begin to sink in. Gradually, her singing is supplanted by the traditional Latin chant and stately music of a Catholic service. Shylock parades in, followed by a line of Catholic clergy, and baptised on stage. It was a moving end to one of the most interesting and beautifully done adaptations of Shakespeare I’ve seen recently.