Othello at Rechabites

The opening night performance of 'Othello' at the Rechabites was brilliant. Stephen Lee's excellent production in 2004 at the studio theatre in Subiaco was memorable but for the current production he has trimmed the script to two hours. By cutting a number of the minor spear-carriers, he's focussed the plot to a tight, swift-moving and absolutely absorbing drama. James Davies' Roderigo starts out as a buffoon, a rich idiot who'll do anything to get his hands on Desdemona. Iago is quite happy to charge him for the privilege and exploit his weak vices. As the play develops, Roderigo becomes tragic in his own right, out of his depth, as he flounders toward his death. Dan Luxton is a superb Cassio, handsome, charming, aware of his weaknesses but unable to control them. Sucked into the maelstrom of Iago's spite, his downfall is rapid and violent. Kim Walsh as Desdemona begins as a confident, pampered young woman, sure of her power over the great warrior, unable to understand the changes that he is suffering. Kim beautifully handles Desdemona's transition to uncertainty, and in the final scene when she begs to be allowed to live, has a childlike simpleness that I found very touching. It was a joy to see three of the leading players from the earlier show, years stronger and better. Angelique Malcolm as Emilia, Iago's wife, is early in the play given the position of Desdemona's attendant. From being sullen and resentful, she becomes a passionate defender as she is forced to acknowledge the depths of Iago's treachery. Angelique's portrayal of Emilia is beautifully paced, subtle and deep. David Meadows stole the show as Iago in 2004 and he's still outstanding. This is not a Prince of Darkness but the nondescript nonachiever who takes an AK47 to the campus. This Iago is a quintessence of the banality of evil, a seething mess of resentment and envy who, although he is in control at the beginning, becomes one of the victims of the forces he has unleashed. Ian Bolgia was to me the wonderful surprise of the evening. In 2004 he took over the part with only two weeks rehearsal and did a competent job. Now with proper preparation and considerable talent, he gave us an Othello which was incandescent. His Othello developed from the comfortable, confident and successful Venetian general at the beginning of the play to the violent, irrational, pitiable murderer at the end. And Stephen Lee plays all the other parts. Aaron Stirk was responsible for the excellent lighting. I really like the scene they played by torch light. I think they originally used torches because they couldn't afford a scene change - now it works in its own right as an interesting contrast. Also Stephen Lee has kept in a scene in which Othello and Desdemona play offstage while onstage Emilia, Iago and Lodovico react to what they are hearing. It was done in 2004 like this because Ian Bolgia didn't have time to learn the whole script and Stephen allowed him to read this off. It works wonderfully well and although Ian could now play it, I'm glad the production kept this serendipitous note. It makes for a stronger focus somehow. If you want opulent sets and gorgeous costumes, you'll be disappointed. In this production the play's the thing. In his notes Stephen Lee wrote '"I have tried .. to strip away much of the 'epic' qualities... and allow a simple, intimate staging to highlight the depths and complexity in both character and relationships that underscore this dark and powerful play." To my mind, he has succeeded. Di Day