Othello, Shakespeare's savage tragedy about the breakdown of a mixed-race
marriage, is notorious for its violence, racism and the blackest of all
villains, Iago. Desdemona defies convention to marry Othello, a successful
general, much older than her, and a Moor. This scandal is hushed up by
allowing Desdemona to accompany her new husband into war; but Othello
has passed over his trusted advisor Iago for promotion, instead going
for the conventional choice, a young Venetian nobleman named Cassio, and
as the threat from the enemy fades, it is replaced by the darker danger
of Iago's twisted revenge. Cheek by Jowl jolt through the politics in
rapid-fire, stylised fragments performed by scattered actors shouting
lines across a vast black stage, before heading south for tragic inevitability
interspersed with it-ain't-half-hot-mum army scenes and rude bits to keep
the audience interested. Iago (Jonny Phillips), mustachioed and as touchy-feely
as an evil P.E. teacher, drags out his lines in a sinister drone; Nonso
Anozie is a harried and frantic Othello, sweating out speeches in abbreviated
gestures and bewildered stares. Matthew Douglas as Roderigo is a fine
gull for Iago's villainy, transparently pathetic and pitiable, while Cassio
(Ryan Kiggell) maintains his handsome charm through some awkward scenes.
But, despite bland costuming (men in army kit or black tie, women in their
own clothes), harsh staging (defying the stylisation elsewhere, Desdemona's
murder is brutally realistic) and a firm focus on the men's relationships,
the best of the play lies with the women. In turns loving, careless, abused
and victimised, Jaye Griffiths (Emilia) and Caroline Martin, a saucy,
independent Desdemona, assert themselves as very different army wives,
united in their vulnerability; and in Emilia's final "I am bound
to speak" speeches the play truly finds its voice, passionately crying
for all the silent victims of jealousy and abuse.
Jeremy Dennis, 23.03.04
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