Disney’s Controversial Remake of “Holes” Sparks Debate
Last month, Disney fans voiced their discontent regarding the announcement of a new series, Holes, a gender-swapped reinterpretation of the original film that featured a boys’ juvenile detention camp and starred Shia LaBeouf. Critics expressed their frustration, with one stating, “Holes has to be about a group of young boys.” Another chimed in, lamenting, “Let’s be honest, no one wants a gender-swapped reboot.” This sentiment reflects a broader trend in media where gender-swapping established characters has become contentious.
Following the recent season finale of Bridgerton, which altered Francesca’s love interest from Michael to Michaela, viewers launched a petition demanding that the original character be reinstated for the upcoming season. Ironically, the reimagining of traditionally male characters as female is prevalent in contemporary storytelling. For instance, in the current Broadway adaptation of Stephen Sondheim’s musical Company, the relationship-averse Bobby has been transformed into Bobbie—a vibrant, flirtatious woman. Similarly, a recent production of The Tempest in the West End has reimagined the character of Prospero as a powerful female sorceress, portrayed by the iconic Sigourney Weaver.
There is an undeniable potency in women stepping into roles that have historically been designated for men. This shift resonates deeply with me, particularly when I recall my own experience during my pregnancy while filming Doctor Who in 2005. At the BBC Christmas party that year, I proudly showcased my baby bump while sipping water. A well-meaning male producer remarked on my “bravery,” suggesting that my career was now effectively at an end.
Fast forward to 2016, when John le Carré’s The Night Manager was adapted for television. Instead of casting a male actor for the role of Leonard Burr—a determined intelligence operative—the producers chose a heavily pregnant Olivia Colman as Angela Burr. Colman’s performance earned her a Golden Globe and an Emmy nomination, and witnessing a pregnant woman take on such a pivotal role made me believe that women truly can have it all.
This experience fueled my inspiration to take on the role of Shylock in my current project, a rendition of Shakespeare’s The Merchant of Venice. I am proud to be the first British woman to portray Shylock, a character traditionally depicted as a Jewish man in 1550s Venice, known for lending money at interest amidst societal persecution.
No actress wakes up with a desire to play Shylock; it’s not a role that exudes glamour. When I first expressed my interest in playing Shylock, skepticism ensued with comments like, “How’s that going to work?” The first time I stepped on stage, I took a deep breath. Although I knew this portrayal might provoke thought and challenge norms, I felt exhilaration mingled with fear regarding how the audience would respond.
To my delight, we have achieved two sold-out West End runs and are now on our third tour across the UK. Oddly enough, I felt no uncertainty about portraying Shylock as a woman. Typically, I wrestle with self-doubt, but having a female Shylock who faces violence and discrimination on the streets highlights the intersectionality of misogyny and racism. There is an intense disdain among those who harbor animosity towards women, especially towards a foreign woman who possesses the strength to assert herself.
My upbringing also greatly influenced my portrayal. I was raised by resilient immigrant women who escaped the pogroms of Belarus, struggling to survive in London’s East End slums. My great-grandmother Annie, along with my grandmother and great-aunts, were on the front lines of resistance, confronting Oswald Mosley and his British Union of Fascists during the Battle of Cable Street in 1936. This historical context inspired me to envision Shylock as a single widowed woman with a daughter, mirroring my great-grandmother’s life.
Historically, many societies barred women from performing on stage, leading to boys and men taking on female roles in Shakespeare’s time. Even today, in 2025, women may feel apprehensive about portraying male characters, likely due to ingrained self-doubt. However, I firmly believe that it’s not necessary for women to exclusively adopt male roles. For example, Ocean’s 8, the all-female spin-off of the heist genre, felt somewhat contrived. Despite the undeniable chemistry among Sandra Bullock, Cate Blanchett, and Anne Hathaway, it seemed as though they were awkwardly inserted into a predominantly male narrative.
Furthermore, I concur with Rachel Weisz and Rosamund Pike regarding the idea that James Bond should not be reimagined as a woman. The integrity of the character, the narrative structure, and the overall context must align seamlessly—something that, in this case, does not occur. Ultimately, I reject the notion of strictly defined male and female roles. We are inherently complex beings, both men and women. What I advocate for is the authenticity of characters that explore the human condition and universal truths. Unless gender is integral to the role, there’s no reason a well-written character with relatable traits shouldn’t be portrayed by a woman.
This Week, I Have Been…
Listening… to Real Dictators on BBC Sounds. I have become an avid fan of this award-winning podcast, which delves deeply into the lives, psyches, and impacts of some of history’s most notorious dictators. During my long train journeys to tour venues, I’ve immersed myself in episodes covering figures like Herod, Attila, Oliver Cromwell, and Stalin, all narrated with engaging finesse by Paul McGann and a host of historians. It’s amusing to listen to such dramatic histories as the train whisks past the picturesque Georgian houses of Bath Spa and the stunning scenery of the Wirral peninsula.
Anticipating… the moment I walk through my front door after two weeks on tour in Liverpool and Bath. I envision kissing my dog, embracing my daughter, and cuddling my husband—in that precise order. I look forward to all of us gathering in the kitchen while I prepare a roast dinner, catching up on everything that has transpired, and sharing hearty laughter. Time spent with my family is the greatest treasure in my life. Leaving home is always a challenge, particularly this year, as my daughter prepares to head to university in September, prompting me to cherish every moment with my loved ones.
Reading… Julia by Sandra Newman. I find myself re-reading this remarkable novel to fully grasp its brilliance. Having already tackled 1984, George Orwell’s dystopian critique of a world under the omnipresent gaze of The Party and its leader, Big Brother, I am astounded by Newman’s ability to expand Orwell’s universe. She intricately weaves the narrative through the female perspective of Winston’s forbidden love interest, Julia, who was minimally developed in Orwell’s original work. This reimagining is a breathtaking feat, and I am thoroughly in awe of its execution.
The Merchant of Venice 1936 tours the UK until April 12. For more details, visit: themerchantofvenice1936.co.uk
