This funny yet telling introduction to Shakespeare will leave young theatregoers wanting more

What was your first encounter with Shakespeare? A "cold reading through" in class, perhaps? Or a magical encounter “with everything made of candy floss"? These are the highs and lows of how the cast and creative team of this 90-minute version of Shakespeare’s problematical comedy first met the Bard – the latter experienced by Israeli actor Shani Erez, who plays Shylock. How lucky then are the young audiences who get to experience Director Robin Belfield’s fast-moving, wonderfully engaging adaptation.

Even before the action begins, the players issue a challenge around one of the drama’s key themes – choice – and an eager young volunteer rises to it. Then three more audience members are entrusted with the three caskets (subject of a crucial choice in the play) and given speaking roles.

Only then do the 10-strong cast burst onto the stage, to Tarek Merchant’s exuberant score, led by Sam Pay on accordion. Characters call to each other by name, swiftly establishing relationships, hierarchies and emotions, from love and loyalty between Venetians, to distrust and dislike of Christian for Jew. All this is without uttering more than a name; it’s all in the body language and tone of voice.

So by the time Morgan Philpott’s self-deprecating Antonio, the merchant himself, delivers his pensive first line, "In sooth I know not why I am so sad", the audience is already aware how damaged Erez’s dignified Shylock is. They’ve watched her coping with being shunned and insulted by Venice’s Christian community; seen what a troubled relationship this distant working mother has with her only child Jessica (a touchingly young Holly Stewart, one of 11 students countrywide playing the role). They watch how impudent servant Lancelet Gobbo dares cheek his mistress "the Jew" by idling on errands and furtively snacking on the street.

By contrast, at the delightful Turkish-flavoured estate of wealthy Portia (mischievously intelligent Yasmin Taheri), her waiting gentlewoman Nerissa enjoys the status of friend and confidante. That both Lancelet and Nerissa are played by the bouncy, articulate (and eight-months pregnant!) Eloise Secker, works to underline the difference in relationship between these two mistresses and their women.

Equally, Ray Sesay’s charismatic, single-minded Bassanio, intent on winning Portia whatever it takes, enjoys the devotion of his posse. This includes the wistful Antonio, who's ready to stake his fortune and even his life for his friend, an exuberant wing man, Gratiano (Oliver Cudbill), who woos maid Nerissa, and wing woman Salerio (sprightly Emma Swan), who disses Shylock because it’s just what you do.

By contrast, the embattled Shylock has only Pay’s (admittedly supportive) fellow Jew Tubal as confidant. It’s crystal clear why the uneasy status quo between Christian and Jew is irrevocably ruptured by Jessica’s betrayal of family and community, and why her elopement with Sahib Khatkar’s confident Lorenzo (one of 11 students in this role) tips Shylock into a single-minded quest for bloody revenge.  

The refusal to shirk the discomfiting elements of the play by all concerned adds a hefty weight to this production. Their acknowledgment of the fine balance between comedy and tragedy, even for such a young audience, makes this first encounter with the Bard one they will recall for years to come as how they got hooked on Shakespeare.

By Judi Herman

Photos by Sam Allard

First Encounters: Merchant of Venice tours until Saturday 16 November, visiting Tyne & Wear (15-19 Oct), Yorkshire (21-24 Oct & 5-8 Nov), Cornwall (29-30 Oct), Devon (31 Oct), Kent (2 Nov) and Nottingham (15-16 Nov). See the JR listings for info or visit www.rsc.org.uk.