But wait...there's MOOR

Othello –
Class Act Theatre
Dir. Stephen Lee
Subiaco Studio space, Perth.



Apart from being rather good at the strategy board game of the same name, this is the first time IÂ’ve seen Othello, and on the whole, I moor or less enjoyed it.

Stephen LeeÂ’s production is very simply staged, but still quite innovative in the way he uses the small Studio stage. Although for me, sitting on the corner diagonal exit, it was oddly noticeable how many major speeches seemed to be performed with me only seeing the back of the actorÂ’s head. Still, as the only options would seem either to have the actors more constantly in motion during those speeches, or to flatten the line out and perform close to the back wall (neither good)Â…it wasnÂ’t so distracting as to be a major worry.

Positively though, there was some quite memorable staging. I very much liked the scuffle scene lit only by the handheld torchÂ…there was barely enough spill to see all the action, which created an exciting tension and realism, while conveniently hiding the body of Desdemona from the previous scene; very neat.

The major argument between Othello and Desdemona being set offstage was also surprisingly compelling. Most people seemed to guess that it gave Ian Bolgia (the understudy of Othello, thrust into the forefront at short notice) a chance to be on the book for a big chunk of dialogue; but stylistically the scene was perhaps more interesting for what we could not see, but imaginedÂ…and the unusual perspective of characters without lines holding our attention as they eavesdropped the argument. The scene sustained almost until the end, which was a lot more than I thought it would, as essentially the characters onstage arenÂ’t really doing anything but listeningÂ…David, Adam and AngeliqueÂ’s reactions were natural and engaging without taking our focus from the scene being played in the next room.

I also liked the area at the top landing of the stairs by the entrance being used for an early scene, and the sparse furniture being utilised well to create different locations.


The cast was uniformly capable, and all seemed well cast. Adam McGurk, Deanna Cooney, and Angelique Malcolm played a variety of smaller roles very aptly, and populated the stage with interesting business during large scenes. I never found myself confused (as I have in the past with Shakespeares I donÂ’t know well) as to who the minor characters were or how they fit in to the big picture.

Ian Bolgia, having had a very short time to prepare the title role, was suitably convincing as the tragic Jealous Guy. Hopefully, someone will get time to take his sleeves in, as the oversize jacket gave him a strangely childish air to his anger. He seemed like someone who had assumed a role not suited to him (not the actor, but Othello assuming the role of General). IÂ’m not certain if this was deliberateÂ…it foreshadowed his tragic decisions toward the end of the play. But character-wise, I thought it a good performance, and quite self-assured.

Desdemona, played by Ingrid Hartwig, had a good balance of cheeky ingénue in the early play, but a darkly mature stoicism when she seemed to become aware of her impending doom.
And if only sheÂ’d used a Kleenex, none of this tragedy might have happened.

Stephen Whiley as Cassio was interesting casting. I mean it as no discredit, but I rather pictured his character as being the huge Hollywood-hunk soldier who is promoted up the ranks and Othello easily believes is flirting with his wife. Instead, Stephen’s smaller, younger, slightly precocious and officious Cassio was a great catalyst to show Othello’s truly blind jealousy, and Iago’s very real irritation at his ‘unworthy’ superior.

Most compelling was probably David Meadows as Iago. He was introduced as a likeable, though belligerent, larrikin soldier, and the way this impression transformed into something sinister, as his cold ambition was revealed, was entirely familiar and believable. While I really liked the impression of his opening drunk scene with Roderigo (Dan Luxton) and Brabantio (James Davies), they didnÂ’t always supply the clarity that I need early in the night (before my ear is attuned to whatÂ’s going on) especially with early plot exposition. But with the exception of not being able to sing in key with the harmonica player (or was it vice versa?) I found him a very powerful and fascinating character, too likeable to be a villain, yet cold and angry enough to totally believe he could set his revenge in motion.


The fact that the play was over 3 hours long was a tricky thing to reconcile with most punters. Unless youÂ’ve been in training for this marathon of concentration, most people who work day jobs were flagging not long after interval. I didnÂ’t find there were any unnecessary scenes, but the entire evening did feel long. Perhaps the pace in the first act couldÂ’ve really picked up, so that by the time we got to the end, we werenÂ’t sneaking looks at our watchesÂ…rest assured it wasnÂ’t due to boredom, just lack of stamina.

Apparently, since opening night theyÂ’ve made some cuts and shaved off a full 25 minutes. So apparently, less is moor.





Incidentally, I found my comprehension of the play much enriched due to the fact that I am currently doing Stephen Lee’s “Understanding Shakespeare” classes, which I have found very informative and enjoyable. I like his teaching style, and he’s obviously very well educated about Shakespeare and how to explain it. Well worth attending future classes, if you get the chance.


Cheers,
Craig

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