Othello

Reviewed by Paul Birchall
Independent Shakespeare Company/Atwater Crossing Arts and Innovation Complex
Through May 7

RECOMMENDED

I think there will always be people who ask “Why on earth do another production of Othello? What more can you say than hasn’t already been said?“ Fortunately, director Melissa Chalsma’s crackling production of Shakespeare’s spite-fest boasts plenty of reasons to captivate and intrigue — though perhaps not the ones that are mentioned in the program notes.  

The program for this show is accompanied by an engaging background essay that voices the production’s desire to craft a version of the play that is about the “other” in the context of an oppressive society. The other, of course, would traditionally be the character of Othello the Moor — one of the few black characters in the classical canon. But Chalsma has opted to cast the show with an ensemble of diverse ethnicities, so the play now puts its emphasis less on the conventional idea of the “other” and more on exploring the motivation behind human malice and jealousy.  

One of the great tragic heroes of literature, Othello (Evan Lewis Smith), a great Venetian commander, marries the lovely Desdemona (Kalean Ung), but then makes the mistake of trusting his vile lieutenant, Iago. Iago (David Melville), seething with malice over being passed over for promotion, has vowed to destroy his commander, and sets about subtly undercutting and sabotaging Othello’s devotion to his wife until Othello suspects her of cheating on him with Cassio (Sean Pritchett), the loyal officer who got Iago’s desired job. Lost handkerchiefs, strangled wives, and hideous sword wounds follow much upon, as they say. 

In these modern times, it often seems as if we’re living in the age of the anti-hero. I mean, we’ve always adored villains in literature, but now the antagonists seem far better loved and rooted for than the heroes on almost every occasion. We have absolutely been influenced by TV shows like The Sopranos and House of Cards; really, is there anyone who would not say that President Frank Underwood isn’t just Iago (except that he manages to get everything he wants)?  

Whether or not it’s due to the cultural zeitgeist, in Chalsma’s production our sympathies — and, yes, our rooting interest — are steadfastly with the wily, resourceful Iago, and not with the outgoing, but naive, and rather prissily entitled Othello.  Melville’s shifty, weasely Iago is a delight.

He worms about the stage, leering and rolling his eyes, as the person he’s talking to turns his back, and his face hardens into a mask of hatred the moment he’s left alone on stage to engage in his famous soliloquies.  

Really, Melville’s wicked little turn is so overtly loathsome that the only question is why anyone could possibly consider him a good, loyal soldier: It makes Smith’s genial, outgoing Othello appear almost intentionally blind to the obvious. You could say that Othello’s real tragic flaw is not his jealousy but his poor judgment.  As a result, we almost root for the guy to get what’s coming to him — and (this being Shakespeare) is what happens in the end. 

Melville and Lewis are both delicious orators, but some of the supporting performers have difficulty bringing life to the text. Nonetheless, the show boasts fascinating flashes of subtext that intrigue and delight. Melville’s sleazy Iago has a strange effeminate quality, which dovetails in a really interesting way with Fiona Cheung’s brittle turn as Iago’s wife, Emilia. Is she his “beard”? Do they have a “partnership” resembling that of the Underwoods on House of Cards? 

As to his relationship with Desdemona, Smith’s Moor clearly operates around an idealized version of her. The poor woman’s inability to live up to the ideal is what sows the seeds of his suspicion of infidelity.   

Ultimately this is a tight, intelligent and neatly rendered production of Shakespeare’s tragedy, perfect not just for students wanting to learn about the play (of which there were many in the opening night audience), but also for folks who just want a good snappy Shakespearean night out.

The Independent Shakespeare Company, 3191 Casitas Ave, #168, Atwater Village; Thurs.-Sat., 7:30 p.m.; Sun., 2 pm; through May 7. (818) 710-6306 or www.iscla.org.  Running time: 2 and a half hours with intermission.