Othello - A Review
Thu, 25 Mar 2004, 01:33 amjassep1 post in thread
Othello - A Review
Thu, 25 Mar 2004, 01:33 amProduction: Othello
Company: Class At Theatre
Director: Stephen Lee
Venue: The Studio, Subiaco Theatre Centre
Date Viewed: 24/3/04
Rating: 4.5 out of 5
It has been some time since I have been moved to write a review on a production - but I felt that this production of Othello should not dissappear without my making the attempt to set down some thoughts and feelings.
First off, I should mention that this is not a perfect production. But it's damn near!
Also, if you have not seen this production, and you profess to be any sort of Shakespeare fan, you *should* see it - if not for the ingenious staging, then for the fact that it has apparently not been produced in Perth since 1975, and is unlikely to be again for a while. There's the obvious reason (not too many "appropriate" actors available for the role of Othello), and the less obvious (it's a long-winded, static and 'talky' play which, in the hands of a lesser director, would be positively murderous on the audience - no pun intended!)
To say that the text, the meaning behind every line and the arc of the action were crystal clear is to understate the matter. Rarely have I had the opportunity to witness such a wonderfully matched ensemble, all with a superb grasp on the narrative and their characters' specific journey and role in the play. Especial kudos goes to Ian Bolgia (a late replacement in the role of Othello) who mastered the role in just over 2 weeks! A fine achievement for any actor!
It is always a shame to single people out in such an ensemble, however I cannot help but mention a few shining lights... (and I'm sorry to say for some I'm going to have to use character names: didn't get a program).
The lass who played Desdemona was wonderfully wicked, seductive and mercurial by turns - a truly accomplished performance which didn't cave into "virginal sainthood" as many would have played her.
David Meadows was superb in the role of Iago - absolutely truthful and straightforward in his interpretation, he was the very embodiment of parasitic, envious 'evil,' and yet managed to walk that fine line of gaining some sympathy from the audience... Iago is, after all, a representative of how we ALL feel from time to time - passed over, unnoticed for our achievements, envious of how others seem to get all the 'kudos.'
Ian Bolgia as Othello was mesmerising and completely convincing as both the victorious general, in total authority of any situation and, later, the gibbering wreck of a man, wracked with monsterous jealousy. This performance epitomised the inherent 'tragic flaw' in Othello, which was first discovered by Iago, then mecilessly exploited until the events could not have turned out any other way. It was the byplay between David and Ian that created the tragic inevitability of the play.
But to single out these few should not diminish or underestimate the sheer power of what this ensemble of committed players was actually able to achieve. This is one of the few productions I've seen in recent times where the whole was greater than the sum of it's parts. A fluency and power was evident where I truly believed that I was in Venice, or Cyprus and voyeristically allowed to spy on unfolding events.
The voyeristic aspect was highlighted beautifully in one small section where Desdemona and Othello have a violent row offstage which went on for 2 minutes or so... the discomfort in the audience was palpable... much like those awkward moments in real life where couples (with less extremes) subject their friends to their personal bunfights at dinner parties... you don't know where to look or how to react. This scene was enhanced by the discomfort and reactions of the characters remaining onstage. This scene would not have been nearly as powerful had it been played fully onstage. It had the twisted facination of a car accident.
Other lovely touches in the production, usually non-verbal, gave the text and action a real potency which most directors would have missed. A well placed, well timed sound effect made by Adam McGurk comes to mind, in particular... :o) All kidding aside, that one moment alone reminded me of just how an audiences perception of a scene can be enhanced, altered or just made clearer by the simplest of devices. A lesser director to get the same result would have been tempted to fill the stage with soldiers (if they had the budget)... Adam made a couple of blokes onstage representative of an entire army!
So were there any problems with the play? Well, yes - but I attribute those to the text itself, mainly. The Class Act promotional material called Othello Shakespeare's "Kitchen Sink Drama" - well of course it's better than that, but it does get rather 'broad' in it's denouement. I believe Stephen Lee squeezed what he could out of it, but the text tends to really bog down towards the end. For example, the scene where Cassio is wounded is played almost entirely in the dark. A tremendous idea which went on far too long and seemed to derail the action a bit. Momentum was lost and never fully regained - a great pity. Though this may just have been a factor in the performance I was privy to.
But in the scheme of the play, this is a relatively minor hiccup.
All in all, a wonderful production... I truly look forward to seeing more of Stephen Lee's work in the future.
Kudos to all involved.
Warmly,
Jason Seperic
Company: Class At Theatre
Director: Stephen Lee
Venue: The Studio, Subiaco Theatre Centre
Date Viewed: 24/3/04
Rating: 4.5 out of 5
It has been some time since I have been moved to write a review on a production - but I felt that this production of Othello should not dissappear without my making the attempt to set down some thoughts and feelings.
First off, I should mention that this is not a perfect production. But it's damn near!
Also, if you have not seen this production, and you profess to be any sort of Shakespeare fan, you *should* see it - if not for the ingenious staging, then for the fact that it has apparently not been produced in Perth since 1975, and is unlikely to be again for a while. There's the obvious reason (not too many "appropriate" actors available for the role of Othello), and the less obvious (it's a long-winded, static and 'talky' play which, in the hands of a lesser director, would be positively murderous on the audience - no pun intended!)
To say that the text, the meaning behind every line and the arc of the action were crystal clear is to understate the matter. Rarely have I had the opportunity to witness such a wonderfully matched ensemble, all with a superb grasp on the narrative and their characters' specific journey and role in the play. Especial kudos goes to Ian Bolgia (a late replacement in the role of Othello) who mastered the role in just over 2 weeks! A fine achievement for any actor!
It is always a shame to single people out in such an ensemble, however I cannot help but mention a few shining lights... (and I'm sorry to say for some I'm going to have to use character names: didn't get a program).
The lass who played Desdemona was wonderfully wicked, seductive and mercurial by turns - a truly accomplished performance which didn't cave into "virginal sainthood" as many would have played her.
David Meadows was superb in the role of Iago - absolutely truthful and straightforward in his interpretation, he was the very embodiment of parasitic, envious 'evil,' and yet managed to walk that fine line of gaining some sympathy from the audience... Iago is, after all, a representative of how we ALL feel from time to time - passed over, unnoticed for our achievements, envious of how others seem to get all the 'kudos.'
Ian Bolgia as Othello was mesmerising and completely convincing as both the victorious general, in total authority of any situation and, later, the gibbering wreck of a man, wracked with monsterous jealousy. This performance epitomised the inherent 'tragic flaw' in Othello, which was first discovered by Iago, then mecilessly exploited until the events could not have turned out any other way. It was the byplay between David and Ian that created the tragic inevitability of the play.
But to single out these few should not diminish or underestimate the sheer power of what this ensemble of committed players was actually able to achieve. This is one of the few productions I've seen in recent times where the whole was greater than the sum of it's parts. A fluency and power was evident where I truly believed that I was in Venice, or Cyprus and voyeristically allowed to spy on unfolding events.
The voyeristic aspect was highlighted beautifully in one small section where Desdemona and Othello have a violent row offstage which went on for 2 minutes or so... the discomfort in the audience was palpable... much like those awkward moments in real life where couples (with less extremes) subject their friends to their personal bunfights at dinner parties... you don't know where to look or how to react. This scene was enhanced by the discomfort and reactions of the characters remaining onstage. This scene would not have been nearly as powerful had it been played fully onstage. It had the twisted facination of a car accident.
Other lovely touches in the production, usually non-verbal, gave the text and action a real potency which most directors would have missed. A well placed, well timed sound effect made by Adam McGurk comes to mind, in particular... :o) All kidding aside, that one moment alone reminded me of just how an audiences perception of a scene can be enhanced, altered or just made clearer by the simplest of devices. A lesser director to get the same result would have been tempted to fill the stage with soldiers (if they had the budget)... Adam made a couple of blokes onstage representative of an entire army!
So were there any problems with the play? Well, yes - but I attribute those to the text itself, mainly. The Class Act promotional material called Othello Shakespeare's "Kitchen Sink Drama" - well of course it's better than that, but it does get rather 'broad' in it's denouement. I believe Stephen Lee squeezed what he could out of it, but the text tends to really bog down towards the end. For example, the scene where Cassio is wounded is played almost entirely in the dark. A tremendous idea which went on far too long and seemed to derail the action a bit. Momentum was lost and never fully regained - a great pity. Though this may just have been a factor in the performance I was privy to.
But in the scheme of the play, this is a relatively minor hiccup.
All in all, a wonderful production... I truly look forward to seeing more of Stephen Lee's work in the future.
Kudos to all involved.
Warmly,
Jason Seperic