PicksInSix Review: Othello - Court Theatre
A SINGULAR KIND OF OTHELLO
Guest Contributor | Ronald Keaton
The Tragedy of Othello, the Moor of Venice by William Shakespeare. It is a long title for what is generally a longer play. At over 3600 lines, it’s among the Bard’s longer pieces and would generally take around three hours to perform. Not so with the production currently playing at Court Theatre. It is compact, judiciously and smartly edited, and fits admirably into the hands of co-directors Charles Newell and Gabrielle Randle-Bent in a challenging and engaging 100 minutes or so. A real and unusual feast for all one’s senses. The presentation, a world of balletic physical battle, where few people touch each other (a marvelous response to the COVID battle we currently wage), is a uniquely timeless setting that also gives pointed contemporary commentary. It is accompanied by a complimentary soundscape created by the fine sound designer Andre Pluess. This writer admits that, at first, this use of an original body-expression language to help further the action was, in a word, unusual. It does take a little time to adapt to the way this Othello is offered. But in time, the audience is eventually taken into this new reality, and the new language itself becomes a character to understand and appreciate.
There is no “place”, per se, for all the action. Indeed, the physical set makeup enacted by designer John Culbert and Court scenic artists has five separate seating areas of roughly 50 patrons onstage along with a small section of the traditional gallery offering another 50 seats or so. The cast works in the bordered aisles among the audience, resplendent in costumes by Rachel Adorno and Gregory Graham in the stark hues of Keith Parham’s lighting design. Additionally, canvased scaffolding and platforms hover over the main playing areas, all further comments on the continuing transition of time in this production and our present pandemic war. Whether or not it’s intended—and I give the Court folks all due for intent whenever I see a play there—it’s an effective theatrical contour.
The story itself is one of extreme jealousies—of power, of property, of love. The script editing by Mr. Newell and Ms. Randle-Bent changes the focus of the story from one dominated by Iago’s treachery to one that shapes Othello’s foibles and weaknesses more succinctly. And Kelvin Roston, Jr.’s visceral, physical Othello spares no quarter in his difficult transformation from arrogant leader to suspicious lover to murderous husband and, finally, to his own demise. Mr. Roston shows us, in deep and short bursts, how the mind is deceived and how quickly he accepts such manipulation until he finally recognizes what he’s done, and what has happened to him.
Iago. One of the great villains in Shakespeare, whose motivations are constantly characterized (and rightly so) as true evil. But here, the wonderful Timothy Edward Kane—whose stunning turn in An Iliad at Court remains alive in this writer—actually makes Iago seem almost vulnerable. It doesn’t last long, of course, because of all the control that Iago exerts throughout the story. Mr. Kane imbues Iago with an almost touching, I-am-forced-to-do-so aura that is quite unique from other portrayals. Amanda Drinkall’s Desdemona was, at once, delicate and strong in standing up to Roston’s Moor. A refreshing presence and relief from the intensity of the plot, even as she has her own to proffer to her husband and is unfortunately rejected. A striking and articulate presence, she is.
Two nice surprises in the evening. One was Cruz Gonzalez-Cadel as Emilia, Iago’s wife. It’s a role that could be hugely difficult, as Emilia seems to accept much of what Iago says and wants with no explanation to her, until she realizes her husband’s truth. Ms. Gonzalez-Cadel’s death scene, being murdered by her husband, capped a far-ranging portrait from an actor new to me. More, please. Then there was Court stalwart Erik Hellman’s intense Roderigo, who combines with Iago in the manipulations to wound Cassio, gets wounded himself, and then ultimately is betrayed and killed by the very man he works with.
Sean Fortunato is his stylish, confident self in dual roles of Brabantio and Montano. Sheldon Brown, whom I’ve seen at About Face Theatre in the city, is energetic and clear-eyed as Cassio, one of Iago’s lieutenants and victims in the charade of evil. Darren Patin aka Chicago Drag Queen Ari Gato is simply invigorating as Bianca, Cassio’s lover. And starting at the top of the production, Karissa Murrell Myers’ Duke presents proper authority and wisdom, clear and concise.
GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com
PHOTO|Michael Brosilow
COURT THEATRE
presents
The Tragedy of Othello, the Moor of Venice
through December 5, 2020
5535 S. Ellis Ave. (map)
Chicago, IL 60637
(773) 753-4472
info@courttheatre.org
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