REVIEW: The Jew of Malta – at the Swan Theatre, Stratford-upon-Avon, on varying dates until Tuesday, September 8, 2015.

MISTRUST, misdeeds and misjudgements litter this tri-cornered religious battleground.

It’s not just the religion in the title that is involved in the blame and revenge game in this 16th century offering, so too are the Christian and Muslim faiths.

And little appears to have changed over the centuries judging by recent world events.

The RSC’s thrust this spring and summer is to spotlight anti-semitism and is the underlying theme both of this rarely performed Christopher Marlowe play and one that is soon to follow, Shakespeare’s The Merchant of Venice.

The other faiths also have their detractors and each are cynically attacked and satirised for hypocrisy and political corruption as villainy and vengeance create a toxic mix on Malta.

The island, sitting in a strategic spot in the Mediterranean is under threat of a Turkish take-over. The Maltese powers are already in debt to the Turks who demand further ‘tribute’ to remove their invasion fleet. So, with nothing in the coffers the Christian Governor buys them off with monies grabbed from Malta’s minority Jewish population.

Barabas – who elucidates an outstanding performance from Jeremy Britton – is the richest Jew on the island. He refuses to be cowed into submission but then sees his entire fortune seized while the rest of the oppressed Jewish community submit and lose only half their wealth.

This initial act of corruption and bribery compels anti-hero Barabas, through his outraged sense of injustice, to plot a terrifying vengeance that could bring about his enemies and the island’s downfall.

Briefly you begin to feel for Barabas, but as his revenge is wreaked so terribly all that sympathy steadily dissipates. Not that there’s any pressure to sympathise with the other religious groups as Marlowe’s text attacks their moral teachings in suggesting any of them can be selfish when it suits, as wells as corrupt, violent or vengeful.

So there’s not much to like about any of them really – the Christian Governor is scheming, the nobles too can’t be trusted, the Turks are threatening, and the friars and nuns hypocritically appear to be in it for personal gain and are also capable of sinful thoughts and acts.

Britton’s portrayal of the ‘wronged’ Jew – pale pain, angst and angry revenge etched on his face, is an exhausting and demanding role. But it’s as perfectly executed as are those whose life-ending moments are engineered by deception, stabbing, strangulation and poisoning in cahoots with his Moorish slave Ithamore, who enjoys the same bloodlust.

Lanre Malaolu’s excitably impish slave offers admirable support as do several other cast members including Steven Pacey’s resolute and commanding Governor Ferneze; Marcus Griffiths’ impressive Calymath, son of the Emperor of Turkey; and Catrin Stewart as Barabas’ daughter, Abigail.

There are moments of humour, both dry and a touch of farce, and there’s a hint of camping it up too - particularly from Matthew Kelly and fellow friar Geoffrey Freshwater. Two more fine performances here.

Barabas aims to be untouchable - he believes it and shows it, but fails to heed his own lesson that you should never trust a person you have wronged.

Justin Audibert, on his RSC directorial debut, has ensured a riveting two hours and 35 minutes in getting the whole cast on board and the action fizzing along.

Stone terracing and pillars make for a bleak set but ensures the focus is firmly on the action. There is however plenty of colour with the costumes, especially the Turkish invaders and their wonderfully enormous hats. These need to be seen to be believed. But what really makes a visit worthwhile is witnessing Britton act his socks off!