Othello

Reviewed by Lovell Estell III
Griot Theatre
Through October 7

Like most of Shakespeare’s greatest works, this familiar tale of jealousy, love and betrayal readily lends itself to critical exploration and original adaptations. Although it was written over four hundred years ago, it’s particularly relevant in these neurotic times given our seemingly endless obsession with ethnic identity and matters of religion. Muslim is a word and designation that has a much different, heavier resonance today than it did in Shakespeare’s time.

In an imprecise effort to upend the play’s standard racial paradigm, this updated version takes place in an “East Asian dystopian future,” an ambitious concept that, according to Griot Theatre’s artistic director Malik B. El-Amin, provides an opportunity to explore black and Asian relationships. The problem is that there really is little perspective or insight that emerges along those lines.

The play opens with Othello (El-Amin, who also directs) washing his hands and performing a simplified version of Salat, the daily prayer required of all Muslims. He is joined onstage by Cassio (Cesar Cipriano), after which the essentials of the story develop in an uneasy mix of the conventional and unconventional (there are some impressive displays of martial arts throughout).

One of the more interesting and effective choices is that Iago is played by a woman. In that role, Helen Lozano is every bit the destructive, venomous schemer, and her performance is outstanding as, little by little, she drives Othello into rabid madness and jealousy — and finally into murdering Desdemona (Alexandra Hellquist) in a finale that doesn’t boast enough polish to have the needed impact. The cast has been paired down to seven actors and actresses; Napoleon Tavale plays Roderigo, while Paul Wong and Evie Abat fulfill multiple roles, acquitting themselves well.

This is a barebones production that uses a few props, generic costuming, and the venue’s capacious floor as a stage. As with most, if not all comparably scaled productions, the onus falls heavily on the actors, and except for Lozano the acting is consistently patchy. El-Amin’s performance in the crucial role is decidedly uneven; little better is Hellquist, who at times seems to be merely speaking her lines, and fails to impart the requisite substance in essential moments.

The Actor’s Company, 916 N. Formosa Ave., Fairfax; Fri.-Sat., 8 p.m.; Sun., 4 p.m.; through Oct. 7. www.GriotTheatre.org. Running time: approximately two hours with an intermission.