These are very odd times. The project of my life – The Merchant of Venice 1936, which sets Shakespeare’s play in East End London during the rise of Oswald Mosley’s Blackshirts – was postponed because of Covid, but is now alive and kicking. It’s kicking hard. We’re on a ten-week tour and I’ve been moved beyond words at the reactions of audiences and critics.
Already a subscriber? Log in
Subscribe for just $2 a week
Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.
- Unlimited access to spectator.com.au and app
- The weekly edition on the Spectator Australia app
- Spectator podcasts and newsletters
- Full access to spectator.co.uk
Or
Unlock this article
You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.
Comments
Don't miss out
Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.
SUBSCRIBEAlready a subscriber? Log in