Reviewed
by Will Stackman
The
play is "The Tragedy of Othello, Moor of Venice" and the title role has
been one of the plums of the Shakespearean canon. But given two actors of equal
force, Shakespeare's
construction of this tightly-plotted tragedy gives much of the focus to the
villain of the piece, Iago, played in this production by Jonathan Epstein. This year, Boston Theatre Works
has not only been able to get his services again, but has engaged the
Shakespeare & Co. veteran with whom Epstein performed the play in Lenox for
the title role. Tony Molina would not normally be available but the Tulane
University Company of which he is a member is on hiatus. New Orlean's ill wind
has blown him back to New England for the present. In this reprisal of their
roles however, Epstein and Molina will not be switching off regularly as they
did in the Berkshires.
BTW
was also able to cast a younger S&C actress Susanna Apgar, seen as Katherine in
"Henry V," as Desdemona, Othello's bride. Ten year S&C veteran Elisabeth
Aspenlieder
plays Emilia, Iago's wife, assuredly in the background until the play's
stunning climax. The congruence of style and experience by these four main
characters bolsters the show. The remaining five local actors bring their own
particular experiences to the show.. ART grad and filmmaker Trey Burvant adds a breezy touch to Michael
Cassio, Othello's new lieutenant, the major focus of Iago's rage. Michael
Keogh is
convincingly callow as Roderigo, the young Venetian Iago's been gulling. Actor
and retired teacher Ray Jenness, currently working for the Gloucester Stage Company,
takes on three older roles; Desdemona's father, the governor of Cyprus whom
Othello replaces, and a Venetian senator present for the denouement. Claire
Shinkman, who
played Laertes this summer in "Hamlet" at the Theatre Coop, functions
as a Venetian administrator in the first act, and Cassio's bawdy playmate,
Bianca, for the rest of the show. Finally, Publick Theatre and Shakespeare Now!
stalwart, Gerard Slattery plays the Doge of Venice and later Montano, an official
on Cyprus. There are no supernumeraries in this focused presentation and minor
textual omissions if anything clarify the action. The barebones technique
developed by S&C over the past decades really pays off in this production.
The
show is performed in the BCA's oldest theatre space, a broad 3/4 stage now
called the Plaza, on an abstract unit set designed by Zeynep Bakkal, who did BTW's "Homebody
Kabul" there last season. There's a simple square podium stage center
before a row of large two-sided doors, red and black. These revolve as a
backdrop, sometimes partly open, all black when needed, and completely red at
the finale. A strip of sea and sky can be occasionally glimpsed beyond. John
R. Malinowski's expert
lighting creates much of the atmosphere for the show. Rachel Padula Shufelt's economical modern dress
costume scheme has a timeless feel. The military uniforms are only one step
beyond rehearsal blacks, while Desdemona's classic and revealing white gown
marks her as the sacrifice. Cam Willard's soundscape of wind, storm, and musical
underscoring completes a very tight production. There is no furniture and only
really necessary props. These include an impressive array of real cutlery,
handled expertly by Epstein and Molina, with everything careful staged by fight
director and sometime Shakespearean Kim H. Carrell
Director
Jason Slavick
has not imposed any unique interpretation on the show, but allowed an
experienced cast to weave the action into an organic whole. Since all can pay
strict attention to the text, in this smaller space--unlike last year's
"The Tempest" which had to be performed in the vast Cyclorama
upstairs after BTW's Tremont home was closed--much greater vocal range is
possible, from almost conversational moments to powerful poetic sections. The
last major production of this classic in town was a touring version brought in
by the Guthrie, under NEA auspices, which seemed ultimately rather flat and
overly respectful. On the Majestic's antique proscenium stage there was a
distance which blunted the tragedy. The ART's mirrorbacked large-cast
extravaganza several years ago had as many high points but was defeated by
erratic direction. The chamber style production uses everyone's talents to
their best advantage.
Both
Molina and Epstein are unafraid to take chances while relying on sound
technique to sweep the action along. This "Othello" up close and
personal achieves much of the script's potential while leaving the play's
essential enigmas intact. Tragedy happens, as the Greeks knew. Hubris sweeps
both Othello and Iago away. Each can justify their actions to themselves;
neither sees the light until far too late. Molina and Epstein are able to add a
depth to their performances which only comes from great familiarity with the
roles, allowing small discoveries to continually reinvigorate them, while
providing the rest of the ensemble with a drive that sweeps the whole show
along.