Othello
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Cititour.com Review
To a veteran theatergoer, it might sound impossible that someone might not know the story of “Othello,” William Shakespeare’s oft-performed tragedy about how the titular military giant is tricked into killing the woman he loves by the petty, jealous Iago. But the Public Theater’s beloved Shakespeare in the Park program often attracts numerous newcomers to the Bard’s work, and Ruben Santiago-Hudson’s blessedly gimmick-free production (complete with Rachel Hauck’s simple yet effective walled-city set and Toni Leslie-James excellent period-feeling costumes) is tailor-made for those viewers, clearly elucidating the show’s central narrative and highlighting its gorgeous language.
Meanwhile, “Othello” veterans, which may be many – this is the Public’s fourth production of the play in a half-century and it has received numerous recent Off-Broadway stagings -- can largely content themselves with a quartet of finely-wrought central performances. Admittedly, I do think the decision to cast the rather petite, too-well-spoken Chiwudi Iwuji as the moor, Othello -- as well as a bit of color-blind casting -- undercuts some of the obvious racism in the play. (Yes, Othello is hated by many in large part due simply to his skin color, but he should he also be physically commanding with a hint of savagery within, both of which Iwuji lacks.) But Iwuji is often so mesmerizing (especially as Othello descends into a temporary madness) that his “shortcomings” barely distract from the production’s overall effectiveness.
Furthermore, like in most productions, Iago essentially steals the show. Here, the wonderful Corey Stoll is masterful in demonstrating the character’s duplicitous nature, greeting everyone in his orbit – including Othello’s virtuous lieutenant Cassio (a slightly underwhelming Babak Tufti) and the essentially sweet-natured Roderigo (a fine Motell Foster) -- with not just a smile but such seemingly straightforward speech that all praise him for his “honesty.” So it’s hardly beyond belief that no one recognizes the unapologetic vileness and villainy deep in his heart and soul (which he freely shares with the audiences, often with a dash of much-needed humor.)
In fact, Iago even fools his wife, the loyal, kind-hearted but somewhat-worldly Emilia (the astoundingly fiery Alison Wright in the evening’s best performance), as well as Othello’s young, slightly naïve bride Desdemona (Heather Lind), a white aristocrat who has defied all of society and her family to wed Othello. Wisely, Lind imbues this often-two-dimensional character with considerable smarts and spunk along with virtue, so that we genuinely care what happens to her (even as the unhappy ending is essentially foretold). Indeed, the women here are almost equal to the men in their complexity.
If, in the words of the great Stephen Sondheim, you prefer “tragedy tomorrow,” then by all means, wait for the Public’s lighter-hearted “Twelfth Night” next month. But more’s the pity (or is that Moor’s the pity?) if you pass on the opportunity to see this well-rendered version of this timeless tale.
By Brian Scott Lipton
Visit the Site
https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Othello-2018
Cast
Peter Jay Fernandez, Motell Foster, Andrew Hovelson, Chukwudi Iwuji, Heather Lind, Flor De Liz Perez, Miguel Perez, Thomas Schall, Corey Stoll, Babak Tafti, Peter Van Wagner, Alison Wright, Kevin Rico Angulo, Christopher Cassarino, David Kenner, Tim Nicolai, Lily Santiago, Caroline Siewert, Allen Tedder
Open/Close Dates
Opening 5/29/2018
Closing 6/24/2018
Theatre Info
Delacorte Theater
Central Park (81st St & CPW or 79th St & Fifth Av)
New York, NY
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