THEATER REVIEW: Shakespeare & Company's Othello

A Shakespeare & Company production of a play in two acts by William Shakespeare

Directed by Tony Simotes

(Shakespeare & Company, Lenox, Mass., Founders’ Theatre, 400 seats, $21 to $60)

 

Michael Hammond                   Iago

John Douglas Thompson          Othello

Merritt Janson                         Desdemona

Duane Allen Robinson              Cassio

Kristin Wold                            Emilia

Ryan Winkles                          Roderigo

Ken Cheeseman                      Brabantio/soldier

Michael F. Toomey                  Montano/senator/soldier

Thomas L. Rindge                   Duke of Venice/soldier

Robert Biggs                           Lodovice/soldier

Caley Milliken                         Bianca/servant

 

 

Reviewed by Lesley Beck

 

 

 

 

I saw this Othello last summer and thought it was excellent; I think it’s even better now. The passage of time has tempered and deepened these performances. Under the sure guidance of director Tony Simotes, John Douglas Thompson brings power and passion to the role of Othello, balanced against the calculated, embittered evil of Michael Hammond’s Iago.

 

 

The play opens with the distant rumbling of an approaching storm as Iago, angered at Cassio’s promotion, declares, “I follow but myself.” This is Iago’s story—he is the only character who steps out of the action and reveals his thoughts to the audience—and Hammond’s Iago is chilling. He shows no remorse as we see him slide easily between coolly plotting mayhem and destruction, and his public face, the Iago who says, trust me, I love you.

 

 

Thompson plays Othello with elegance—behavior suitable for a soldier on the field of battle is put aside as Othello takes his place among the leaders—until betrayal and jealous start to destroy him. By the end, Thompson gives us an Othello stripped raw, emotions exposed—his betrayal complete and his judgment shown to be fatally flawed.

 

 

One aspect of the production that is an improvement over last summer’s is that we now feel the physical attraction more between Thompson’s Othello and Merritt Janson as Desdemona. Expressed in glances and caresses, there is an ease between these actors.

 

 

Simotes has chosen to point up the humor that is woven through the first act, setting up one of the many contrasts that give this production such depth. And the fight scene between a drunk Cassio and Roderigo is detailed and expansive—fight choreography is one of Simotes’ particular areas of expertise—and not only are we reminded that these men are soldiers, but we get a glimpse of Othello’s raw power as he rebukes the participants.

 

 

Duane Allen Robinson as Cassio, one of the few actors onstage who is new to this production this summer, delivers a nuanced and intelligent performance, and Kristin Wold as Emilia provides another solid linchpin in the production.

 

 

Yoshi Tanokura’s simple, elegant set functions beautifully, complemented by the lighting of Les Dickert. The austere palette suits the play, as do the beautifully detailed costumes by Gail Brassard.

 

 

One of Shakespeare’s most straightforward scripts, this Othello remains compelling—we are shown good and evil, excess and control, love and hate in stark contrast. We know what is about to happen, and yet we cannot look away. [JULY 9, 2009]

 

 

(Set design: Yoshi Tanokura; costume design: Gail Brassard; lighting design: Les Dickert; composer/sound design: Scott Killian; fight choreography: Tony Simotes; stage manager: Hope Rose Kelly)

 

Shakespeare & Company, 70 Kemble St., Lenox, Mass., 413.637.3353, www.shakespeare.org

 

Photos by Kevin Sprague, courtesy Shakespeare & Company. Top, Michael Hammond as Iago; bottom, John Douglas Thompson as Othello and Merritt Janson as Desdemona.