Othello

Abstract

Reviewed by: Othello Noel Sloboda OthelloPresented by the American Shakespeare Center at the Blackfriars Playhouse and the Blackburn Inn, Staunton, VA. 3107– 1810 2020. Directed by Ethan McSweeny. Costume design by Victoria Depew. Fight direction by Benjamin Reed. With Jessika D. Williams (Othello), Mia Wurgaft (Desdemona), Brandon Carter (Cassio), John Harrell (Iago), Chris Johnston (Lodovico), Constance Swain (Emilia), Matthew Radford Davies (Brabantio), Michael Manocchio (Duke), Sarah Suzuki (Bianca), Topher Embrey (Montano), Zoe Speas (Roderigo), and others. This Othellowas built with flexibility in mind, a necessity for theater in 2020. Still, I was unprepared for the flexibility that I would need to complete this review. I watched the first half of the show at a new outdoor venue for the American Shakespeare Center: the lawn at the Blackburn Inn. To accommodate those who might be uncomfortable visiting an enclosed theater, the company completed half of Othello's run there. The remaining performances took place, on alternating nights, at the Blackfriars Playhouse, the company's traditional home. On the night I visited the Blackburn to watch Othello, the weather was pleasant, until a major storm rolled in during intermission, leading to flash floods that damaged homes and businesses throughout the Shenandoah Valley. The second half of the evening was rained out, and I was obliged to view the remainder of Othellomounted at the Blackfriars, via a live streaming service (Marquee TV). Lean practices that enabled the Staunton-based troupe to move from one location to another, from one day to the next, are a point of pride [End Page 135]for the ASC. The company claims in its program that due to its flexibility—along with its performers' willingness to rehearse in a bubble—it is currently "among the only not-for-profit arts organizations in North America capable of producing right now." Facilitating mobility, the set featured little in the way of furniture, and pallets were stacked against walls in both performance spaces. These gave the impression that everything might be quickly packed up, and the transient atmosphere suited a play about people who are obliged on short notice to travel far from home. In terms of design, sound effects were minimal, and though a few spotlights illuminated the stage at the Blackburn, the Blackfriars continued its longstanding custom of keeping the lights up. Nevertheless, McSweeny's interpretation of Othellodid rely upon a few key technical elements, with pointed choices about music, costumes, and props. Before the show, and again at intermission, the majority of the ensemble took to the stage to engage the audience with acoustic versions of contemporary songs. All of these touched at least passingly on themes from Othello, with titles including "Sinnerman" by Nina Simone, "Busted" by Dustbowl Revival, and "Good Intent" by Kimbra, which singer Sarah Suzuki dedicated to the hapless Michael Cassio. Some songs more pointedly addressed contemporary issues. Topher Embrey belted out "Glory" by Common and John Legend as a stated demonstration of solidarity with the Black Lives Matter movement. At the end of each of the two sets, the last song served as a bridge from our world into that of the play, asserting an immediate connection between select singers and characters they played. The first act was preceded by Jessika D. Williams (Othello) and Mia Wurgaft (Desdemona) being left alone onstage to sing a duet of "I Will Follow You into the Dark" by Death Cab for Cutie, clasping hands and staring intently at one another. It was obvious they were transitioning into character as Wurgaft gave Williams a handkerchief, anticipating the fateful prop that would be used in orchestrating Desdemona's murder. In a similar moment of musical metacommentary, before the second act began, Iago—who had effectively taken over the drama before intermission by directing Othello to slay Desdemona—was left alone by the other musicians and singers. In manic tones, he strummed a ukulele and belted out "Every Breath You Take" by the Police. Hinting that the enigmatic motives of the villain might be tied to a stalker's obsession as much as to anything else, the moment hauntingly recalled the last line Iago had spoken in the production's first half: "I...