Othello is twisting on Iago’s skewer once again, helpless to be anything but a free meal for Shakespeare’s green-eyed monster of jealousy in Rogue Theatre’s solid production of "Othello." Wearing elaborate costumes of the period and working on a bare stage, this cast captures the essence of these two famously flawed personalities.
“Othello” should really be titled “Iago,” of course. He does all the heavy lifting in this classic psychological study of a man who loves not wisely but too well.
Joseph McGrath plays Iago with a remarkable facility for Shakespeare’s complicated speech patterns. Those long sentences roll so easily off McGrath’s tongue he has room left to add inflection that makes the words sound even more natural.
Iago was a smooth talker by the standards of late 16th century Venice. McGrath makes him oily enough to be a politician for today.
Othello does not fare quite so well in the hands of Nathan Crocker, making his debut at the Rogue. This Othello looks terrific as a proud African general finding success winning battles for armies of the city/state Venice. He’s bold. He’s confident. He’s leader of men.
But dealing with women…ahh, that’s another story. This Othello is so filled with doubt he crumbles like a crisp cookie. On the plate he looks delicious, but try to break off a little bite and he shatters into a thousand pieces.
Crocker could have given the troubled general more substance in the middle portion, where he wants to believe Desdemona is loyal. Every time Othello praises his buddy “honest Iago,” we should feel pangs of regret that Othello is being so painfully deceived.
Crocker is a great closer, though. The final scenes of the bloody showdown, his last moments with Desdemona in the midst of chaos, are powerful theater. That’s when we realize all the cast has done its part to bring us along through the cynical manipulations that led to this complete collapse of order.
Cynthia Meier directs with a clear eye for the drama and intrigue of Iago’s string-pulling as the Venetian court’s puppet master. Shakespeare’s play is not about race, as many others have tried to make it in these recent times of heated conflicts over civil rights.
Othello is an outsider, to be sure. But he isn’t a second-class citizen in his own country. He is not only from another country, but another continent. He perceives the sophisticated Venetian elite as superior beings. He longs to be an insider among them.
So Othello fights their battles and becomes a celebrity general honored throughout the city. Wanting more, he takes one of the court’s most desirable women to be his bride.
But when Iago challenges Othello’s right to enjoy all these glories, Othello can’t find the self-respect he needs. It is easier for Othello to doubt Desdemona than to believe in himself.
Meier gets all this, and Rogue’s production of “Othello” is all the better for it. Avis Judd as Desdemona is the truest believer in Othello’s worth. We are convinced she is blameless and would stand by her husband no matter what. Othello truly could have had it all, if only…
Adding strong support in smaller roles are Patty Gallagher as Emilia, who is innocently sucked into Iago’s dastardly plan then tries to make amends, David Morden in a couple of key scenes as different characters, and Sarah Smith as Bianca another innocent courtesan.
Performances of “Othello” continue in the Rogue Theatre at 7:30 p.m. Thursdays through Saturdays, 2 p.m. Sundays, to May 16. A pre-show of period music, led by Harlan Hokin, begins 15 minutes before curtain. Tickets are $24.
Pay-what-you-will nights are May 6 and May 13. Reservations for these dates are strongly recommended. Half-price student rush tickets for all performances go on sale 15 minutes before curtain, current student ID is required.
For details and all reservations, 520-551-2053, or visit www.TheRogueTheatre.org
No comments:
Post a Comment