The bard’s most iconic work about mischievous friendship and envy’s destructive feelings is reborn in a new version currently playing at the Lyric Hammersmith until mid-February. Guillermo Nazara shares his thoughts on the production, to let us know if one of the author’s greatest and most famous classics has been properly treated.
If something clutters the London scene, apart from its healthy (I try to convince myself) obsession with musical theatre, is the name of the man who give shape, meaning and value to Britain’s most signature artform – and also the English language. Far from being limited to the sometimes traditional, sometimes completely revamped productions at the replica of what used to be his most successful venue (no, it’s not the one from Shakespeare in Love!!!), this year’s new season seems to have taken an extra dose of fondness on the genius from Stratford, with some of his plays offered simultaneously in completely different versions.
If something has prompted the admiration for the bard (as it’s usually the case with any author whose words have overcome the toll of time) is his exquisite ability to dig into the rawest, purest depths of the human psyche, bringing to the surface a wise, accurate understanding not only of a character’s feelings and motivations, but usually (and most surprisingly) of oneself. Othello has all of the elements to fit perfectly into today’s morality and interest: envy, ambition, lust – a recurring Shakesperian plot, yest, but this time all combined (and most probably, triggered) by the shadows of racism.
The approaches this piece has been given over time are countless, examples featuring all kinds of experimentation (even colour-swapping between the hero -so to speak- and his arch nemesis). This version is no exception to such attempts. Produced by the Frantic Assembly Company, Othello flies, on this occasion, from the ranks of the Venetian army to the tribal hierarchy of urban underground. Directed by Scott Graham, the montage is an enthralling showoff of visual plasticity, featuring a carefully choreographed but naturalistic depictions of its universe’s crudeness. Violence, in all of its forms, is turned into a new sort of beauty, difficult to look at, but impossible to resist. Used both as setting and transitional tools during the whole performance, Graham’s testing with dance as a narrative link proves to work at least in what concerns to the allure of the show, though it’s still in need of further editing to improve an otherwise well controlled pace.
With set design by Laura Hopkins, the whole ambiance flows seamlessly in a coherent environment, where the decadent vibe stemming from the characters’ arc is projected through the world they inhabit – successfully enhanced by Natasha Chivers and Matt Whale’s lighting. Playing it faithfully to the original material (a praise I cannot shout loud enough), it’s however inevitable to wonder if such an atmosphere is precisely the right one to update the 400-year-old piece. Yes, it would not be the first time that we see older works groomed in the edgiest borders of modernity, but perhaps Shakespeare’s articulate writing clashes a bit too much with the reality we associate to streetwise gangs. It’s true that, as viewers, we can decide to forget about accuracy and accept the artist’s proposal, but a nowadays high-class military environment would not be any worse (maybe even more effective) illustration of the author’s ideas.
With a competent young cast doing adequate justice to their parts, evil is nonetheless the one conquering this time, as Joe Layton’s portrayal of Yago, suble and believably devilish, is genuinely a guilty pleasure to listen and watch to. On the other hand, Tom Gill, as Cassio, deserves also a mention, for his organic and sympathetic conception of his character. But when it comes to the title role, Michael Akinsulire sadly fails to comply in bringing out the complexity and truthfulness of the mentally unstable and easily manipulated general, with a great deal of his acting (though improving during the course of the second act) feeling basically recited.
Bringing back the most popular of classics is a challenge over a challenge: it’s doing again what’s already been done and redone (continuously) by others. This version of Othello may not be the ultimate, but as for what directing concerns, it has managed to achieve quite a respectable level of originality. Endowing the piece with new languages while respecting the sanctity of the author’s ink, a most desirable try can be given to a plot that society (regardless of the purpose) will never let die.
All pictures credit to Tristram Kenton.
Othello plays at London’s Lyric Hammersmith until 19 February. Tickets are available on the following link.