Othello
Reviewed by Lara J. Altunian
A Noise Within Theatre Company
Through April 28
Despite Shakespeare’s popularity and the longevity of his body of work, it is becoming increasingly difficult for modern audiences (those who are not self-proclaimed Shakespeare diehards) to relate to or appreciate many of his plays. Generally speaking, those reasons include society’s evolved mentality regarding racism and sexism, a perceived melodramatic tone to the characters’ speech and actions, and a general disconnect when it comes to humor. Surprisingly, Othello mostly thwarts these issues thanks to the nature of the plot. The storyline defines the play as a tragedy that speaks against racial discrimination and deals with two topics that still trigger strong reactions from people: cheating and jealousy.
A Noise Within’s production of Othello takes full advantage of these more universal and contemporary qualities and gives the plot a present-day setting that sometimes works, and at other times drags the play down. However, strong performances and direction make this undoubtedly one of the better Shakespeare adaptations I have seen.
The play opens with a decoration ceremony wherein the recently promoted Othello (Wayne T. Carr), a Moorish man in the Venetian military, has chosen Cassio (Brian Henderson) to be his lieutenant. Iago (Michael Manuel), who feels he has been passed over twice now, begins plotting revenge against both soldiers — predominantly Othello, with whom he fought alongside for years in many battles. Meanwhile, Iago’s “friend” Roderigo (Jeremy Rabb) is in love with Desdemona (Angela Gulner) and is distraught when he finds out that the she and Othello have eloped overnight. He seeks Iago’s advice to win her back and in doing so, unknowingly makes himself a pawn in the villain’s personal plan to destroy his comrades.
There are a few odd moments in the context of the production’s modern setting. One deals with the tenderhearted Cassio’s underplayed attitude during what could be considered a medical emergency. When Othello suffers a stress-related seizure Cassio casually disregards the moment by immediately walking away after asking Iago if his friend is alright. This is odd since Iago informs him that the epileptic fit is Othello’s second in two days. Today, an incident like that would not be taken so lightly.
Frederica Nascimento’s simple, yet boldly textured set design full of solid patterned backdrops and silver warehouse walls matched by Erin Walley’s sparing metallic tables, chairs and other props do enforce the modern military look the company seems to be going for. However, the concept of Venetians fighting off Turks on the coast of Cyprus clashes with the visual image of the characters using Mac computers and dressing in American camouflage uniforms. Although the choice to preserve the nations’ names most likely comes from an unwillingness to change any part of Shakespeare’s text, the contradictions are jarring and pull the viewer out of the play every time they come up.
The acting elevates the play, at times overriding the suddenly non-coeval production taking place on stage. Manuel does an exceedingly good job as the treacherous Iago. Playing such a traditionally evil villain who conspires against every single character in the play could lead to a one-note portrayal. However, Manuel plays up Iago’s sense of cunning. The individualized approach he takes when tricking each of his “friends”, while still maintaining his core personality as the Iago everyone thinks they know and love, makes him fascinating to watch. It also makes it easy to see how and why he is able to trick everyone so thoroughly.
Carr’s transformation from the strong, but easy-going leader to the brutish and jealousy-crazed husband is quick, but effective with Iago’s prodding. He performs both sides of Othello’s personality well. On the other hand, Gulner’s Desdemona seems at times a little too cheery and optimistic while dealing with the situation, especially after her husband shows her a physical sign of his moodiness, which she herself labels as uncharacteristic and extreme. Henderson and Rabb are effective as Cassio and Roderigo, but Tania Verafield who plays Emilia — Iago’s unwitting wife and Desdemona’s lady-in-waiting — surprises with her ability to command the later scenes she appears in. Her underrepresented character (though that is more a fault of the writing than anything else) goes deep in her heartfelt conversations with Desdemona, revealing a complex woman who can be both independent and sly, while still remaining loyal to her friends — dual traits that Verafield nails in her delivery.
Director Jessica Kubzansky’s elaborations on Shakespeare’s famous lack of stage directions add bouts of welcome humor throughout the production, while John Zalewski’s subtle sound design really plays up the harrowing atmosphere that builds up scene by scene. Rose Malone’s lighting is at times a little flat, but with the emphasis on the movement and acting, the play does fairly well with the 400-year limitations placed on it by the script. The most unfortunate factor is that the first half of the play is much more entertaining than the second, despite Iago’s expanding plan. The famous ending, however, is still striking right up to the last second of the play.
A Noise Within Theatre, 3352 E. Foothill Blvd., Pasadena; Thurs., 3/7, 3/28 & 4/18, 7:30 p.m.; Fri., 3/8, 3/29 & 4/19, 8 p.m.; Sat., 3/9 & 4/13, 2 p.m. & 8 p.m.; Sun., 4/7 & 4/28, 2 p.m. & 7 p.m.; through Apr. 28. (626) 356-3100 or https://www.anoisewithin.org/play/othello/. Running time: two hours and 45 minutes with one 15-minute intermission.
