The New Place Players excel at embracing old locations to bring the audience exciting new shows. Othello is their latest production, staged at a restored row house foundry on the East Side. The setting of statuary and stained glass brings an engaging medieval ambiance to the proceeds. This is further enhanced by the trio of musicians on stage. They play period instruments before the show and provided an excellent low-key soundtrack to the proceedings at times.
For those that need a quick refresher on Othello - you might have forgotten since High School Shakespeare - here is a simple synopsis. Othello is a powerful and respect warrior for the Republic of Venice. He is also a black man – a Moor. Ever the outsider, Othello incites anger when he marries Desdemona, the beautiful daughter of a Venice Nobleman. Igao, one of his military attachés, can’t believe Desdemona has chosen a Moor! An attack occurs in Cyprus by the Ottomans and Othello and his army is sent to repel the attack. Othello does not name Iago as his second, another brick in the wall of jealousy which Iago is building. He schemes to drive Othello crazy with jealousy as he paints Desdemona the adulteress WITH Othello’s second in command. Thereby removing both Othello and Casio (the 2nd) with one swoop.
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| Elliot Johnson as Othello (photo: Carol Rosegg) |
As for the show itself, director Makenna Masenheimer has created a topical and relevant story of Othello. Not just by narrowing the focus more towards the Black Moor Othello, but by opening his story to all people that are judged as “the other”. The underling dynamic is emphasized in this production. Neither has the Shakespeare dialog changed but emphasized a bit differently to pull the “otherness” front and center.
It works partially due to the great acting of Elliott Johnson as Othello. He projects strength, both mentally and physically. Most of the characters view Othello as “one of the good ones.” That is, he is a black Moor, but fighting for Venice. He a responsible leader with troops and Venetian rulers both express admiration.
But when Othello marries Desdemona, her father complains to the city fathers and civic leaders that Othello has shamed his family by bedding and marrying her (in that order). The local authorities tell the Nobleman that Othello is a great general and no punishment is coming, he disowns his daughter who has been soiled by the Moor. Desdemona is played beautifully by Alanah Allen as a happy wife and partner of Othello.
Othello is driven made with jealousy due to the ruthless planning and execution of a plot by Iago, played by talented Coner Andrew Hall. Iago plots to make Othello jealous of his wife and second in command, Cassio. Thereby inflicting pain on Othello and ridding himself of a competitor, Cassio. Cassio is played by Mathew Iannone, with the perfect amount of fealty and respect for Othello.
Othello is presented in the middle of the space, chairs lining each side. The space is reminiscent of a 17th century church. The soaring ceiling and statuary lined walls give an emotional depth to the play. I suggest arriving a little early to get the best seats, all seating is open.
Like every version of Othello, the transformation from adoring husband to a jealous murderous partner is problematic in its swiftness. But this show deals with it a bit differently. After Othello’s crime, his temper is blamed on his blackness. His contemporaries are quick to blame his fiery hot-headedness on his race. Othello’s friends rapidly turn on the Moor. Othello's reputation falls from reverence to disappointment in a moment, disabused of the idea that he and his fellow Venetians are equals.
The one flaw in the show is the portrayal of Iago. Iago is described as “honest Iago” in the dialog and his treachery goes unseen until late in the play. Here, Iago sports the look of an unkempt confederate soldier too bitter to function in society. No one would ever believe Iago is anything but the villain here. It is a relatively minor flaw, since Iago is the villain of the piece, known from very early on – although it does smack you upside the head with the metaphor of a false friend to a black man.
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| Helen Herbert as Emilia in the foreground. (photo: Carol Rosegg) In the background: Alanah Allen (Desdemona) and Conor Andrew Hall (Iago) |
Iago's wife, Emilia, is used unwittingly to help the plan. Emilia is played by Helen Herbert and seems to fade into the background only to surprise and impress when she moves to the forefront.
Director Masenheimer builds a steady flow of action and emotions in Othello. She admirably keeps the large cast individualized for the audience to understand. The entire production: acting, costumes, set and lighting combine to form an immersive experience that makes the audience fell more like voyeurs rather than spectators. It is a great show and event and night out.
Othello
Playwright: Shakespeare | Director: Makenna Masenheimer | Cast: Elliot Johnson, Alanah Allen, Coner Andrew Hall, Matthew Iannone, Rose Kanj, Nathan Krasner, Helen Herbert
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