‘Desdemona’ is supposed to be subversive, feminist take on Shakespeare’s ‘Othello’, which re-imagines the lives of the female characters, voicing their discontents, giving an alternative perspective. Desdemona, Emilia and Bianca are all revealed as circumscribed and oppressed by men and by patriarchy. Desdemona (Cristina Bejan) ruts with anyone she can get her hands on, standing in for the local prostitute: she, Bianca, (Lakshmi Krishnan) is a ribald strumpet who (of course) just wants to settle down, and Emilia (Danielle Orchard) uses religion to cope with daily drudgery and her sexually inadequate husband.
Vogel’s play, obviously, is no subtle work of dramaturgy. This production, sadly, did little to develop the play’s occasional linguistic playfulness and much to throw its defects into relief. Using a Tori Amos CD piped through a tinny stereo to open, to punctuate the scenes, and as then a general soundtrack to the whole play only served to highlight the deficiencies of the production, as the actors seemed to be simply filling in time between lines.
The relationship between Emilia and Desdemona was initially impossible to ascertain, due to the fact that Danielle Orchard’s Emilia spoke a version of ‘Hoirish’ so fast and impenetrable that comprehension was impossible. Cristina Bejan was at least understandable and at times rather amusing, although her pouting and flouncing wore rather thin. Lakshmi Krishnan’s entrance as Bianca only served to confuse further. Her cock-er-nee sparra accent obscured much of the dialogue, and despite her palpable gusto for the role the performance improved after her exit. Despite all this, the last fifteen minutes were oddly affecting: Emilia preparing Desdemona for her death-bed with a tender sorrow. But fifteen minutes out of an hour and twenty really is not good enough.
Vogel’s play, obviously, is no subtle work of dramaturgy. This production, sadly, did little to develop the play’s occasional linguistic playfulness and much to throw its defects into relief. Using a Tori Amos CD piped through a tinny stereo to open, to punctuate the scenes, and as then a general soundtrack to the whole play only served to highlight the deficiencies of the production, as the actors seemed to be simply filling in time between lines.
The relationship between Emilia and Desdemona was initially impossible to ascertain, due to the fact that Danielle Orchard’s Emilia spoke a version of ‘Hoirish’ so fast and impenetrable that comprehension was impossible. Cristina Bejan was at least understandable and at times rather amusing, although her pouting and flouncing wore rather thin. Lakshmi Krishnan’s entrance as Bianca only served to confuse further. Her cock-er-nee sparra accent obscured much of the dialogue, and despite her palpable gusto for the role the performance improved after her exit. Despite all this, the last fifteen minutes were oddly affecting: Emilia preparing Desdemona for her death-bed with a tender sorrow. But fifteen minutes out of an hour and twenty really is not good enough.