Othello

Othello is indeed an intense play full of deceit which is driven by envy, evil and sheer irrationality. This production demonstrates a laser focus on these aspects and delivers a chilling version of this play. The dark atmosphere is written across every element of the production from the publicity to the stage and set design (Callum Dale). The potential in this very flexible and highly adaptable venue is explored with real innovation to create a very mysterious and menacing space. The lean and sleek set allows the characters to leap on stage and completely dominate the space. This cohesive ominous atmosphere is also driven home in the beautifully executed lighting (Sidney Younger), sound (Jack Burmeister) and costume (Samantha Hastings) design. 

Both Othello (Christopher Kirby) and Iago (Dushan Philips) are depicted as soldiers traumatised by war. This is not cast as an excuse for their misogyny but provides some context for the total lack of reason that characterises their exchanges. Kirby’s imposing physicality makes him a very intimidating Othello, and he fully exploits his domineering presence. He also captures Othello’s enormous psychological weakness at the hands of Iago, portrayed via sharp shifts in his mood. Philips captures the charm and allure of Iago and prioritises a volatile anger and aggression that drives his evil impulses. In this production Iago’s thinking is given great attention and this highlights the incredible perfidious and detailed nature of his scheming.

The production’s emphasis on the men tends to cast the women as helpless victims. Desdemona (Tanya Schneider) is portrayed as innocent with a bright and buoyant demeanour which makes her fragile. Emilia (Lucy Ansell) is cast as confident and alluring. However, the dedication and intensity of their alliance, and its resulting defiance, is somewhat sacrificed. Cassio (Matt Furlani) is played with finesse and as someone who becomes a victim of his own charm and good looks. This also creates some much needed lighter and amusing moments of relief from the intensity of the text. Ansell also doubles as Bianca, and this works well via effective use of costuming. Furlani also plays Ludovico, however, a less imaginative use of costuming makes this less effective. Nonetheless, the small ensemble approach to the play is striking and effectively facilitates the stripping back of the play to its core themes.

This is an extremely powerful and gripping production which is imbued with unease and disquiet. The violence towards the women is expertly staged in an explicit and confronting manner. This serves to emphatically reiterate the position that the play is ultimately about the scourge of intimate partner violence, where women are often beaten, battered, tortured and even murdered on a whim.

Patricia Di Risio 

Photographer: Nick Robertson