THEATRE
By William Shakespeare, by Bell
Shakespeare
Fairfax
Studio, Arts Centre Melbourne, until July 23, 2016
Reviewer: Kate Herbert on July 14, 2016
Stars: ***1/2
Review also published online, Herald Sun Arts, Fri July 15, 2016 & in print on Mon July 18, 2016. KH
Yalin Ozucelik, Ray Chong Nee_ credit_Daniel Boud
A
memorable villain is clever, wicked and alluring and Shakespeare’s Iago is all
of those things, and more.
Othello,
played by Ray Chong Nee in Peter Evans’ sleek, modern production, is the Moor
of Venice, an African general who, although a foreigner, is highly valued for
his military prowess by the Venetian Duke (Huw McKinnon) and governing senate.
When the
restrained and upright Othello secretly marries Desdemona (Elizabeth Nabben),
he faces the wrath of her father Brabantio (James Lugton), a senator, and also
unwittingly attracts the malicious but disguised vengeance of his military
ensign, Iago (Yalin Ozucelik), who is furious at being passed over as
Othello’s second-in-command.
Although
Othello is the titular role, Iago’s villainy and manipulation of other
characters is pivotal in steering the increasingly jealous Othello to the
ultimate horror of murdering Desdemona. (No need for a spoiler alert for such a
famous scene.)
Chong Nee
is at his best in the first half of Evan’s production, when his Othello is self-possessed,
confident and oblivious to all but his military command and his untainted love
for Desdemona.
Othello’s
downfall is his unfounded trust in Iago whose betrayal Othello cannot discern
and who he repeatedly describes as “honest Iago”.
From our
contemporary view, Othello is the victim of obvious and hateful racism when, in
his absence, Iago and others call him “an old, black ram” with a “sooty bosom”,
a “lascivious Moor” who “is making the beast with two backs” with the pure,
milky white Desdemona.
Chong
Nee’s performance is less effective in the later scenes when Othello succumbs
to “the green-eyed monster” of his misguided jealousy and his escalating, demented
rage appears, at times, too melodramatic and not totally credible.
Ozucelik is
achingly charismatic as Iago, embodying this smiling, dissembling villain who
manipulates not only Othello, but also gullible, lovelorn Roderigo (Edmund
Lembke-Hogan), protective Brabantio, trusting Cassio (Michael Wahr) and even
Iago’s own wife, Emilia (Joanna Downing).
Ozucelik’s
Iago is cunning, agile and lithe, capering gleefully from one damaging
deception to another, revelling in his own power and revealing, through snide
and witty asides or colourfully venomous speeches that celebrate Shakespeare’s
poetic power, his vicious plot to destroy Othello.
Yalin Ozucelik, credit_Daniel Boud
Nabben’s Desdemona is more worldly and modern than is
common for the modest maidenly character, but she brings a steely determination
to this young woman who bravely confronts her changed husband until she comes
to fear his inexplicable wrath.
Lugton brings dignity to Brabantio, Wahr is aptly
naive as Cassio, and Lembke-Hogan channels Roderigo’s boyish obsession with
Desdemona.
Evans’ sets his inventive production on an empty
stage surrounded by monumental, industrial, concrete-like pillars (Michael
Hankin), and atmospheric lighting (Paul Jackson) tinges the entire space with
dim, mossy green light that reflects Othello’s green-eyed jealousy.
The only additional set is a rectangular table on
wheels that provides an elevated platform in some scenes or a war room table in
others, and its swift mobility gives a sense of urgency and unpredictability.
While there is unevenness in the acting, this
production captures some of the emotional intensity of Othello and Evans delivers
an imaginative version of Shakespeare’s play.
By Kate Herbert
Cast
Desdemona
-Elizabeth Nabben
Duke/ Montano -Huw McKinnon
Roderigo - Edmund Lembke-Hogan
Brabantio /Lodovico -James Lugton
Cassio - Michael
Wahr
Emilia-Joanna
Downing
Bianca - Alice
Keohavong
Director - Peter Evans
Set & costumes - Michael Hankin
Lighting - Paul
Jackson
Fight choreography -
Nigel Poulton
Cast of Othello
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