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magidA couple of weeks ago I went to the BTW production of Othello. I was looking forward to it; the only other time I'd seen the play it was a horrible production, plus I tend to like Shakespeare directed by Jason Slavick. I wasn't disappointed.
There was a fairly minimal set: a plinth in the middle of the stage (seating was on three sides of the center stage area), while behind that was a row of panels across the stage, most of which pivoted on a vertical axis, alternating between red and black sides. That, plus lighting and a few props, was it.
And it worked, very well, letting the focus be on the story in all its detail. Towards the beginning there were a couple of more modern asides whispered by Iago as he watched what was happening, which worked to draw people into the story. This time Othello and Iago were rounded people, not flat, uni-dimensional ones. Interestingly, when Emilia gave Iago Desdemona's handkerchief, they played it as part of a Dom/sub dynamic in their relationship. Of course, Iago had all the power, since he was loved but not loving in return, and he played it. I wondered, though, about Emilia. It doesn't say, but seems likely, that she was maidservant to Desdemona first, then married Iago (part of Othello's entourage, trying to get closer to her? Or an arranged match, at least on one side?), in which case it's harder that she'd give the handkerchief to her husband.
Othello and Desdemona's relationship had interesting overtones as well. Towards the end, as she struggles to understand the coldness of one she loves, Desdemona was played as an abused woman still in love with her abuser, hesitant to be near him, but unable to blame him, either. Though the fairly short span of days in the play makes this more difficult to be convincing, it made Desdemona much more understandable at the end.
Throughout the play, Othello is called "the Moor," though I've always thought the part was the token black/African role in Shakespeare (rather like Shylock is the token Jew, except that Othello is cast in a much more sympathetic light). In any other context, if I saw "Moor," I'd assume Muslim, likely Arab or Turk. His dark skin could easily be either of those, and it would make the political side of the play much more dramatic, a Muslim Turkish general fighting for Cyprus.
The play was gripping, intense. I enjoyed it very much, despite the long run time (three hours). I wonder which Shakespeare Jason'll be directing next year...
There was a fairly minimal set: a plinth in the middle of the stage (seating was on three sides of the center stage area), while behind that was a row of panels across the stage, most of which pivoted on a vertical axis, alternating between red and black sides. That, plus lighting and a few props, was it.
And it worked, very well, letting the focus be on the story in all its detail. Towards the beginning there were a couple of more modern asides whispered by Iago as he watched what was happening, which worked to draw people into the story. This time Othello and Iago were rounded people, not flat, uni-dimensional ones. Interestingly, when Emilia gave Iago Desdemona's handkerchief, they played it as part of a Dom/sub dynamic in their relationship. Of course, Iago had all the power, since he was loved but not loving in return, and he played it. I wondered, though, about Emilia. It doesn't say, but seems likely, that she was maidservant to Desdemona first, then married Iago (part of Othello's entourage, trying to get closer to her? Or an arranged match, at least on one side?), in which case it's harder that she'd give the handkerchief to her husband.
Othello and Desdemona's relationship had interesting overtones as well. Towards the end, as she struggles to understand the coldness of one she loves, Desdemona was played as an abused woman still in love with her abuser, hesitant to be near him, but unable to blame him, either. Though the fairly short span of days in the play makes this more difficult to be convincing, it made Desdemona much more understandable at the end.
Throughout the play, Othello is called "the Moor," though I've always thought the part was the token black/African role in Shakespeare (rather like Shylock is the token Jew, except that Othello is cast in a much more sympathetic light). In any other context, if I saw "Moor," I'd assume Muslim, likely Arab or Turk. His dark skin could easily be either of those, and it would make the political side of the play much more dramatic, a Muslim Turkish general fighting for Cyprus.
The play was gripping, intense. I enjoyed it very much, despite the long run time (three hours). I wonder which Shakespeare Jason'll be directing next year...