Othello - Another Rambling Review: Even Moor Rambling.
Sun, 21 Mar 2004, 01:43 amWalter Plinge2 posts in thread
Othello - Another Rambling Review: Even Moor Rambling.
Sun, 21 Mar 2004, 01:43 amAnother Rambling Review - Even Moor Rambling.
I have just come from tonight's session of Class Act's production of
Othello, directed by the redoubtable Stephen Lee at the Studio in
Subiaco. Thank you Stephen, for your chat before & after the
production, it was very informative and entertaining to talk with you.
I'd certainly be interested to attend the Understanding Shakespeare
classes Mr Williams mentioned, I'm sure it would make me a better
reviewer, they sound fascinating.
I have said in the past that I would pay to hear Eliot McCann read
the phone book. I will now further postulate that I would pay to
see *traffic* directed by Stephen Lee, it would no doubt be lively,
innovative, inspirational and entertaining.
I'm probably going to ramble more than usual, it's late, the play
was great, and I've had a couple of beers, so don't feel you have
to read the whole review...
First time I've seen Othello. I haven't read it...just know of
it by reputation, you know I'm a Hamlet watcher by habit, with
occassional Tempest forays...
Got straight into it, the drunken expostulation in the opening
scene set the scene clearly without any need to reset the old brain
into Shakespeare mode.
To start with, what a masterful performance by Ian Bolgia, who was
Othello! He was great, wouldn't have believed in a million years that he's only had two weeks to study the part. This is a study in human frailty, and to watch the nagging doubts crawl over Ian's Othello's face as Iago picks away at his trust in Desdemona is heartbreakingly convincing.
He's got a lovely voice too. It should be served in little cups with
little shortbreads or after dinner mints on the side.
David Meadows's Iago becomes more and more chilling as the play
progresses. He is played with depth, frightening emotion and deviousness which made some of the scenes quite uncomfortable to watch. It's quite blown me away, his Petrucchio was great and hilarious, but this was something
else! Brrrrr.
Dan Luxton gifted us with welcome relief with his long suffering humorous portrayal of the ill fated Roderigo, well played Dan, it was a pleasure towatch, and there was an unspoken soliliquy in every groan, he was an audience favourite. Nice threads!
Stephen Whiley shows off his flexibility, from Ariel and Alfred (if I
remember correctly) to Cassio, a splendid rendition: From The Model Soldier, to The Mean Drunk, closely followed by The Importuner to the Wounded Soldier to The Suddenly Thrust in Command. Stephen's Cassio could easily have become an Iago, in only slightly different circumstances.
Desdemona played by Indgrid Hartwig makes us really feel for the poor
character (even though, let's face it, she should have been called
Ditzdemona) She's in love, she's trying to influence her man, but she gets so broken and is truly heartrending in that terrible, terrible scene when she is being prepared for bed by Emilia, and the impending doom is palpable, and her incomprehension of Othello's behaviour is pathos personified.
Waaaah!
I haven't had the priviledge of seeing James Davies before, who gave us a passionate Brabantio (Dessy's dad yes?) and a forthright Gratiano, but I'd like to see more of him, he had poise and energy.
Emilia was played by Angelique Malcolm, who I last saw playing a wonderful Kate in The Taming of the Shrew. She showed us a woman torn, hoping against hope for some degree of affection and gratitude from her lousy husband.
She's embattled by her own carefully sheilded emotions (necessary to her very survival as Mr Lee pointed out to me after the play) whose terrible outburst at the end is the more shocking because of her restraint throughout. She also has some very significant expressions during the going to bed to wait for Orthello scene I mentioned before. Looks like I'll be willingly paying money to watch Angelique cross the stage now.
I enjoyed watching Adam McGurk's expressive face speak volumes for his characters, and his clarity of voice and tone held our attention, he was very focussed and it certainly paid off.
Finally of the actors Deanna Cooney played us a passionate and indignant and very convincing Bianca, and a professional, no nonsense "for God's sake, we're trying to win a war here people" Doge. She was very capable, and in such different roles in such a short space of time a joy to watch.
Brief mention of non-actory bits, I'm getting tired, but if I sleep,
I'll lose the freshness.
The restrained and well timed lighting (Aaron Stirk) and minimalist
set allowed us to concentrate on the characters and story, with just
enough to help us along.
Playing "Mars, Bringer of War" from Holst set the scene for a brooding
war like play, even for those of the audience who didn't know the piece,
good choice. No problems with the sound either, all good.
Craig's review mentioned the torchlit scene of stabbing in the dark,
it's quite alarming, actually! And of course, who's got the light and
is ostensibly in control of the situation? Iago, of course. Or is,
as Stephen said to me, is he really? Aaaargh!
The other really uncomfortable scene is Othello and Desdemona OOV having a real domestic, and watching the characters on stage. The only thing that makes it less uncomfortable is letting outrage take hold as you watch Iago.
These two scenes are inspired.
Coustume and props brought it all together wonderfully, thank you Paula Griffiths, also for inviting us to drinks afterwoulds!
Andy Fraser made me flinch, because some of the fights looked VERY convincing, and gods know how much more difficult it must have been to do in the dark, torchlit scene! Aiieee!
Anna Hawkes made sure nobody tripped over anything that wasn't where it was supposed to be (quite a nightmare with the constantly shifting benches I would have thought)
It is wonderful to see such a talented cast, technically superior crew
come together in such a way, I had the priviledge to see everyone
relaxing after the show, and the way they were talking together I could see they had all clicked.
Go see it if you can, you may be able to get tickets still, around 4.30,
someone correct if I'm wrong, they release a few tickets apparently.
If it was another play I would say it sparkled, but it's not that sort
of play.
This production gleams. Like a dagger. And I would say that that is entirely appropriate.
Thank you to all concerned.
-Alicia Smith, rambling and very sleepy reviewer.
I have just come from tonight's session of Class Act's production of
Othello, directed by the redoubtable Stephen Lee at the Studio in
Subiaco. Thank you Stephen, for your chat before & after the
production, it was very informative and entertaining to talk with you.
I'd certainly be interested to attend the Understanding Shakespeare
classes Mr Williams mentioned, I'm sure it would make me a better
reviewer, they sound fascinating.
I have said in the past that I would pay to hear Eliot McCann read
the phone book. I will now further postulate that I would pay to
see *traffic* directed by Stephen Lee, it would no doubt be lively,
innovative, inspirational and entertaining.
I'm probably going to ramble more than usual, it's late, the play
was great, and I've had a couple of beers, so don't feel you have
to read the whole review...
First time I've seen Othello. I haven't read it...just know of
it by reputation, you know I'm a Hamlet watcher by habit, with
occassional Tempest forays...
Got straight into it, the drunken expostulation in the opening
scene set the scene clearly without any need to reset the old brain
into Shakespeare mode.
To start with, what a masterful performance by Ian Bolgia, who was
Othello! He was great, wouldn't have believed in a million years that he's only had two weeks to study the part. This is a study in human frailty, and to watch the nagging doubts crawl over Ian's Othello's face as Iago picks away at his trust in Desdemona is heartbreakingly convincing.
He's got a lovely voice too. It should be served in little cups with
little shortbreads or after dinner mints on the side.
David Meadows's Iago becomes more and more chilling as the play
progresses. He is played with depth, frightening emotion and deviousness which made some of the scenes quite uncomfortable to watch. It's quite blown me away, his Petrucchio was great and hilarious, but this was something
else! Brrrrr.
Dan Luxton gifted us with welcome relief with his long suffering humorous portrayal of the ill fated Roderigo, well played Dan, it was a pleasure towatch, and there was an unspoken soliliquy in every groan, he was an audience favourite. Nice threads!
Stephen Whiley shows off his flexibility, from Ariel and Alfred (if I
remember correctly) to Cassio, a splendid rendition: From The Model Soldier, to The Mean Drunk, closely followed by The Importuner to the Wounded Soldier to The Suddenly Thrust in Command. Stephen's Cassio could easily have become an Iago, in only slightly different circumstances.
Desdemona played by Indgrid Hartwig makes us really feel for the poor
character (even though, let's face it, she should have been called
Ditzdemona) She's in love, she's trying to influence her man, but she gets so broken and is truly heartrending in that terrible, terrible scene when she is being prepared for bed by Emilia, and the impending doom is palpable, and her incomprehension of Othello's behaviour is pathos personified.
Waaaah!
I haven't had the priviledge of seeing James Davies before, who gave us a passionate Brabantio (Dessy's dad yes?) and a forthright Gratiano, but I'd like to see more of him, he had poise and energy.
Emilia was played by Angelique Malcolm, who I last saw playing a wonderful Kate in The Taming of the Shrew. She showed us a woman torn, hoping against hope for some degree of affection and gratitude from her lousy husband.
She's embattled by her own carefully sheilded emotions (necessary to her very survival as Mr Lee pointed out to me after the play) whose terrible outburst at the end is the more shocking because of her restraint throughout. She also has some very significant expressions during the going to bed to wait for Orthello scene I mentioned before. Looks like I'll be willingly paying money to watch Angelique cross the stage now.
I enjoyed watching Adam McGurk's expressive face speak volumes for his characters, and his clarity of voice and tone held our attention, he was very focussed and it certainly paid off.
Finally of the actors Deanna Cooney played us a passionate and indignant and very convincing Bianca, and a professional, no nonsense "for God's sake, we're trying to win a war here people" Doge. She was very capable, and in such different roles in such a short space of time a joy to watch.
Brief mention of non-actory bits, I'm getting tired, but if I sleep,
I'll lose the freshness.
The restrained and well timed lighting (Aaron Stirk) and minimalist
set allowed us to concentrate on the characters and story, with just
enough to help us along.
Playing "Mars, Bringer of War" from Holst set the scene for a brooding
war like play, even for those of the audience who didn't know the piece,
good choice. No problems with the sound either, all good.
Craig's review mentioned the torchlit scene of stabbing in the dark,
it's quite alarming, actually! And of course, who's got the light and
is ostensibly in control of the situation? Iago, of course. Or is,
as Stephen said to me, is he really? Aaaargh!
The other really uncomfortable scene is Othello and Desdemona OOV having a real domestic, and watching the characters on stage. The only thing that makes it less uncomfortable is letting outrage take hold as you watch Iago.
These two scenes are inspired.
Coustume and props brought it all together wonderfully, thank you Paula Griffiths, also for inviting us to drinks afterwoulds!
Andy Fraser made me flinch, because some of the fights looked VERY convincing, and gods know how much more difficult it must have been to do in the dark, torchlit scene! Aiieee!
Anna Hawkes made sure nobody tripped over anything that wasn't where it was supposed to be (quite a nightmare with the constantly shifting benches I would have thought)
It is wonderful to see such a talented cast, technically superior crew
come together in such a way, I had the priviledge to see everyone
relaxing after the show, and the way they were talking together I could see they had all clicked.
Go see it if you can, you may be able to get tickets still, around 4.30,
someone correct if I'm wrong, they release a few tickets apparently.
If it was another play I would say it sparkled, but it's not that sort
of play.
This production gleams. Like a dagger. And I would say that that is entirely appropriate.
Thank you to all concerned.
-Alicia Smith, rambling and very sleepy reviewer.