All aspects of theater combine to bring ‘Othello’ to life
By Simon Levine
The Earlham theatre department’s production of “Othello: The Moor of Venice” fires on all cylinders, giving a vibrant, and affecting performance of William Shakespeare’s tragedy about jealousy and prejudice.
Guest Theatre Director Lynn Perkins-Socey, who also designed the sound, uses a score of resonating bells, which complement the stark but adaptable sets.
Throughout the production, light and sound amplify the drama of the material. Early, as Roderigo (sophomore Kellen Paine) howls up at Brabantio (Professor of Theatre Arts Michael White) to warn him that his daughter is missing, Iago (senior Nick Husted) lies hidden in the shadows, his hat removed. Later, as Othello (Kyle Haden, guest actor) languishes in the throes of jealousy and confusion, the droning of bells in the background seems to be the incoherent buzzing in his own head.
In contrast to the starkness of the set, Costume Designer Karen Adams’ outfits are quite colorful. The soldiers all wear ornate Napoleonic uniforms with brass chest plates and large red sashes, while Desdemona (junior Sarah Waddle) wears a flowing gold trimmed robe. Brabantio’s gray, striped, tuxedo, meanwhile, evokes the antebellum south.
Accolades also go to Fight Choreographer Rob Johansen, a teacher at the Indiana Repertory Theatre. The audience cheered as Cassio (sophomore Uldis Elksnitis) staggered drunkenly across the stage, brawling in succession with Roderigo and Montano (freshman Ethan Sallee).
Haden is excellent as Othello. His booming voice is well suited for the lead, a character both charmingly energetic and ferociously angry. Haden convincingly portrays this whole range of emotions and is legitimately frightening as his jealousy crescendoes to the climactic murder scene.
Opposite Haden is Husted, playing the most celebrated villain in Shakespeare, with more lines than the protagonist. Husted is good as the brooding sardonic Iago who soliloquizes to the audience, but really shines when he is playing the charmer, making it believable that his character could endear himself so strongly to his comrades. The bawdiness of Iago’s archaic, bar humor is never lost and the audience laughs along as he chides Desdemona.
Desdemona has great chemistry with Othello’s two lieutenants and her interactions with Cassio are very persuasive as inspirations of guilt. By comparison, Haden’s and Waddle’s relationship sometimes feels stiff and never quite reaches the passion suggested in the text.
Also notable was Michael White’s blubbering and mercurial portrayal of Brabantio. White succeeds at capturing the boorishness and unlikability of the domineering father, a figure who seems confused throughout the play.
The play had some technical difficulties. Lights went out shortly after the intermission and didn’t return for several minutes.
Eat a large meal and go to the bathroom beforehand, because Othello is a long play, going from 7:30 p.m. to nearly 11 p.m. with one intermission.
That said, it is time spent that you will probably enjoy. The material comes to life in a way that a modern audience can relate to. Shakespeare’s jokes are funny and the moments of evil still spine-tingling.
This is a faithful and laborious reworking of the material that makes some interesting choices but is still conservative enough to be familiar. Fans of the material are sure to enjoy and the play is also highly recommended to those who have never read Shakespeare.
Showings are tonight and tomorrow at 7:30 p.m. Tickets are available from 11 a.m.-1 p.m. and 5-7 p.m.
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