 | Othello |  |
"Damn her, lewd minx! O, damn her!
Come, go with me apart; I will withdraw.
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant. Othello
I am your own for ever. Iago " Act III, scene iii
Written: 1604
Boston Theatre Works in BCA Plaza Theatre ; March 0, 2006 Boston, USA
Starring :
Reviewed on : 2006-03-16 23:11:45 ; Reviewed by : Will Stackman
| The play is The Tragedy of Othello, Moor of Venice and the title role has been one of the plums of the Shakespearean canon. But given two actors of equal force, Shakespeare's construction of this tightly-plotted tragedy gives
much of the focus to the villain of the piece, Iago, played in this production by Jonathan Epstein. This year, Boston Theatre Works has not only been able to get his services again, but has engaged the Shakespeare & Co. veteran with whom Epstein performed the play in Lenox for the title role. Tony
Molina would not normally be available but the Tulane University Company of which he is a member is on hiatus. New Orlean's ill wind has blown him back to
New England for the present. In this reprisal of their roles however, Epstein and Molina will not be switching off regularly as they did in the
Berkshires.
BTW was also able to cast a younger S&C actress Susanna Apgar, seen as Katherine in Henry V, as Desdemona, Othello's bride. Ten year S&C veteran Elisabeth Aspenlieder plays Emilia, Iago's wife, assuredly in the background until the play's stunning climax. The congruence of style and experience by these four main characters bolsters the show. The remaining five local actors bring their own particular experiences to the show. ART grad and
filmmaker Trey Burvant adds a breezy touch to Michael Cassio, Othello's new lieutenant, the major focus of Iago's rage. Michael Keogh is
convincingly callow as Roderigo, the young Venetian Iago's been gulling. Actor and retired teacher Ray Jenness, currently working for the Gloucester
Stage Company, takes on three older roles; Desdemona's father, the governor of Cyprus whom Othello replaces, and a Venetian senator present for the denouement. Claire Shinkman, who played Laertes this summer
in "Hamlet" at the Theatre Coop, functions as a Venetian administrator in the first act, and Cassio's bawdy playmate, Bianca, for the rest of the show. Finally, Publick Theatre and Shakespeare Now! stalwart, Gerard Slattery plays the Doge of Venice and later Montano, an official on Cyprus. There are no supernumeraries in this focused presentation and minor textual omissions if anything
clarify the action. The barebones technique developed
by S&C over the past decades really pays off in this
production.
The show is performed in the BCA's oldest theatre
space, a broad 3/4 stage now called the Plaza, on an
abstract unit set designed by Zeynep Bakkal,
who did BTW's "Homebody Kabul" there last season.
There's a simple square podium stage center before a
row of large two-sided doors, red and black. These
revolve as a backdrop, sometimes partly open, all
black when needed, and completely red at the finale.
A strip of sea and sky can be occasionally glimpsed
beyond. John R. Malinowski's expert lighting
creates much of the atmosphere for the show.
Rachel Padula Shufelt's economical modern dress
costume scheme has a timeless feel. The military
uniforms are only one step beyond rehearsal blacks,
while Desdemona's classic and revealing white gown
marks her as the sacrifice. Cam Willard's
soundscape of wind, storm, and musical underscoring
completes a very tight production. There is no
furniture and only really necessary props. These
include an impressive array of real cutlery, handled
expertly by Epstein and Molina, with everything
careful staged by fight director and sometime
Shakespearean Kim H. Carrell
Director Jason Slavick has not imposed any
unique interpretation on the show, but allowed an
experienced cast to use their experience to build
weave the action into an organic whole. Since all can
pay strict attention to the text, in this smaller
space--unlike last year's "The Tempest" which had to
be performed in the vast Cyclorama upstairs after
BTW's Tremont home was closed--much greater vocal
range is possible, from almost conversational moments
to powerful poetic sections. The last major
production of this classic in town was a touring
version brought in by the Guthrie, under NEA
auspices, which seemed ultimately rather flat and
overly respectful. On the Majestic's antique
proscenium stage there was a distance which blunted
the tragedy. The ART's mirrorbacked large-cast
extravaganza several years ago had as many high points
but was defeated by erratic direction. The chamber
style production uses everyone's talents to their best
advantage.
Both Molina and Epstein are not afraid to take chances
while relying on sound technique to sweep the action
along. This "Othello" up close and personal achieves
much of the script's potential while leaving the
play's essential enigmas intact. Tragedy happens, as
the Greeks knew. Hubris sweeps both Othello and Iago
away. Each can justify their actions to themselves;
neither sees the light until far too late. Molina and
Epstein are able to add a depth to their performances
which only comes from great familiarity with the
roles, allowing small discoveries to continually
reinvigorate them, while providing the rest of the
ensemble with a drive that sweeps the whole show
along.
|
|
Sir John Gilbert, R.A.,
Othello and Iago
Reviews
|  | Schauspiel Frankfurt
April 17, 2009 |  | Northern Broadsides
March 11, 2009 |  | Royal Shakespeare Company at the Warwick Arts Centre
February 6, 2009 |  | Théâtre de l'Odéon
November 14, 2008 |  | Metropolitan Opera
February 22, 2008 |  | Chicago Shakespeare Theatre
February 13, 2008 |  | Stratford Festival of Canada
August 4, 2007 |  | Boston Theatre Works in BCA Plaza Theatre
March 2006 |  | Ankara Devlet Opera ve Balesi
November 16, 2005 |  | Oyun Atölyesi
March 14, 2005 |  | Lions Gate Films
2004 |  | Lyric Opera of Chicago
2002 |  | Masterpiece Theatre
2002 |  | Tim Blake Nelson
2001 |  | Royal Shakespeare Company
January 6, 2000 |
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