“Othello” By William Shakespeare
Adapted & Directed by Russ Banham
Seattle Shakespeare Company
206-733-8222
www.seattleshakes.orgMost avid theatre-goers, and certainly those well-steeped in Shakespearean drama are familiar with the practice of “bowdlerization”, the egregious expurgation of salacious or potentially offensive material from a work of literature. The term’s etymology can be traced to one Dr. Thomas Bowlder (1754-1825), who in 1818 published “The Family Shakespeare”, in which he "endeavoured to remove every thing that could give just offence to the religious and virtuous mind". Over time, the term has taken on a somewhat broader connotation, referring to any extreme cutting of a text.
While this may bring to mind images of wild-eyed, scissors-wielding Puritans, there are times when even the most reverent “Bardophile” (to use G.B. Shaw’s somewhat dismissive appellation) sees need for some judicious trimming. When done with care, sensitivity and thoughtfulness, such cutting can actually enhance the audience’s understanding and enjoyment of the work. In what is being billed as a “chamber theatre production” of “Othello”, Seattle Shakespeare Company director, Russ Banham takes this notion to its logical conclusion by paring away minor characters and subplots to focus exclusively on the primary storyline. Although purists will no doubt object to yet another case of “the director (thinking he) knows better than the writer”, in all honesty, the result is a riveting, thoroughly engaging production that places emphasis squarely on the actors’ interaction both with each other and with the audience.
Granted, of the major works in the canon, “Othello” is one of the more structurally compact; the play isn’t burdened greatly by tangential storylines, and what few extraneous characters there are can easily be dispatched without significantly affecting the central plot. So, what is perhaps more interesting about this production than its abbreviation is Banham’s decision to contract the scope of the action, distilling it down to a level of intimacy that feels at times claustrophobic in its intensity –
film noir, particularly the moody, stifling atmospherics of Jacques Tourneur, Carol Reed or Robert Wise, is the closest approximation that comes readily to mind. Indeed, the relatively confined playing area of John Kirshenbaums’ in-the-round set pulls the audience into the action, allowing for the kind of subtle performance style more closely associated with modern cinema than with the classical stage. Additionally, lighting by Tim Wratten reinforces this atmosphere by using sharply directed shafts of light spilling onto the stage, creating chioscuro-like effects that at times leave actors in almost complete darkness. These technical elements, along with Banham’s reduction of the cast to a mere six actors results in a sensation much akin to being a spectator on-the-scene, as opposed to viewing events from some omniscient distance, forcing the audience to become both witnesses and fellow conspirators in the proceedings. Along with these simple, yet highly effective staging techniques, Banham further demonstrates a keen understanding that their sole purpose is to support the actor, and in that regard he does them immeasurable service.
There is always some debate regarding who is the real protagonist in “Othello”, but without doubt in this version it is Iago (Hans Altweis), and not the Moor himself (William Hall, Jr.) who is the central figure. Altweis literally controls the stage from the first moment of the play, manipulating everything: people, events – even the rather sparse stage trappings – with the deft skill of a master puppeteer. Sinuous and steely-eyed, he maneuvers his hapless fellows into and out of enough compromising situations to make Machiavelli himself blush with envy and admiration. What becomes startlingly clear in Altweis’ superb performance is Iago’s capacity for sheer vindictive malevolence: once committed, he channels every fiber of his being into the task of destroying his superiors, and his machinations achieve an almost artistic subtlety because, although subterfuge is part-and-parcel of his
modus operandi, he never actually lies in order to achieve his ends. Altweis breathes into his Iago a delicious, at times voracious sense of amoralism that shocks, not so much by what he does, but rather by his capacity to draw out the worst qualities of those around him, merely by telling them the truth about each other. It is a stellar performance, full of physical and mental agility that effortlessly drives the production from start to finish.
Hall’s Othello at first seems somewhat too old to be a match for the credulous Desdemona (Jennifer Sue Johnson), and it’s difficult to reconcile their “May to December” romance as anything other than youthful infatuation on the one hand, and middle-aged venery on the other. But, they share a good chemistry in their scenes together, and Hall’s commanding presence quickly dispels any lingering doubts about Othello’s charismatic appeal. He is a leader of men, a skilled military tactician, and a respected advisor to the court of Venice. What he lacks -- surprisingly for one in his exalted position -- is good judgment of character, and the ability to rein in emotions once let loose; qualities the ruthless Iago exploits to his supreme advantage. As his jealousy and suspicion race unchecked, Hall becomes almost feral in his pursuit for proof of Desdemona’s infidelity, dramatically counter pointing Altweis’ chillingly calculated sociopathy.
With a six person cast, there’s some necessary doubling (at times even tripling) of roles, which can tend to make the early goings a bit confusing, but Banham gets sufficiently distinct work from each member of his supporting cast that the confusion quickly dissipates. And in this adaptation, even the minor characters seem to take on a richer, fuller life, exemplified by Amy Thone’s diffident Emilia. Despite the mental and physical abuse she suffers at the hands of her husband, she remains doggedly loyal until the moment she realizes her own inadvertent complicity in Iago’s plotting. Thone invests the character with a melancholy fatalism, grudgingly accepting her state, but injecting a wistful longing for something better. It’s a touching, lucid performance capped by a sublimely rendered speech to Desdemona late in the play that simply wrenches the heart. John Bogar likewise gives a standout performance as the bookish Cassio, transforming from an astute, promising protégé to a figure of abject ruin once Iago has done with him. And Dan Dennis’ libidinous Roderigo provides a bit of welcome comic relief in his single-minded pursuit of the one thing he can never have.
If you’re a Shakespeare purist, then there are probably going to be plenty of reasons to find fault with this production. On the other hand, if you’re open to the notion of having some of the stuffiness shaken out of your Bard, this production of “Othello” will make you look at the story in a new light, and the strong performances and bold staging will literally have you sitting on the edge of your seat.
