The Bard’s greatest classic about disloyalty and deception returns to the Globe in a visually modernized production played by candlelight. Guillermo Nazara shares his views on the show, to let us know if this recurring piece in the London scene is still worth coming even now, now, very now.
No good deed goes unpunished. Yet, all of acts of evil shan’t go unrewarded. Once we remove the masks hiding other’s true intentions, we can be surprised how bleak the world can be. I’m sorry – it’s another (long list…) cloudy day in the city and still haven’t had my morning coffee. It’s also afternoon, but I don’t care if you don’t. Let’s move on and try to ease up our minds. How would feel if you found out that all that you believed in was all a lie? Or even worse, if you took matters into your own hands only to discover that those lies were just the wicked fabrication of a so-called friend – someone who, all along, just wanted to stab you in the back. I told you today’s not too good a day for me…
The tragedy of Othello has permeated into our everyday with astonishing dexterity. The reason why is however not shocking. We all have one Iago or two in our lives. That treacherous snake that so arduously attempts to slither into our lives and pour its poison from within. Sometimes they succeed, sometimes they fail. But as long as they can cause some damage, they’ll take joy from it. After all, that’s what their whole purpose is all about… As you can tell, I’m not a fan of holding grudges.
The immortality of its themes (as probably everything that Shakespeare wrote) makes of the piece an easy target for re-adaptation – something that both London and The Globe viewers in particular alike know well of. With two major productions dealing with The Moor of Venice’s plight performed only a year ago (one by the National, one by the Lyric Hammersmith), returning to this work may come as task more than anything – with next to no surprises to be waiting on a plot not only are we acquainted with, but also explored (twice) too recently. Then again, sometimes it’s good to be disappointed – not at others, that is.
The twists and turns of this new production shape the timeless classic into modern account set in present-day London. A police brigade substitutes the traditional army our hero used to climb his way up. And the closest we get to the romantic Italian canals are the algae-covered ones next to King’s Cross. A few tweaks in the dialogue. A couple of minor changes in the action. But essentially, it’s all the same. A harrowing depiction of the human spirit’s darkest hour – and the lengths one can get to when led by the greedy hands of hatred.
Directed by Ola Ince, the show excels at bringing a visually powerful narration – combining an edgier underground, streetwise approach (perhaps drawing inspiration from previous remakes like West Side Story), while also constructing a psychological universe where Othello’s mind unfolds itself into a separate persona. A battle between reason and emotion, Ince’s take enhances the struggles of a honest man plummeting into his own obscurity after the seeds of mistrust have been planted into his heart – depicted through a mixture of movement and dance that also gives both poetry and crudeness to his growing insanity.
An interesting technique to be featured, this nonetheless serves as pro and con throughout the performance – as some of its interventions manage to boost the rawness of his trouble. Yet, some others become too camp in style, resulting in more of a gimmicky rendition that, though exuding some irony, erases a great deal of its intended effect. This issue is, in some way, replicated by Renell Shaw’s underscore, which though extremely atmospheric and efficient through most of the drama, its opening number delivers an excessively comical flavour – which, apart from inadequate, gives a wrong impression about the kind of show (and take on it) that’s about to unravel.
This is, in any case, no obstacle for this version to be thoroughly enjoyed. Its rather satisfying creative traits are only surpassed by its remarkably compelling portrayals, all of them playing in a well-balanced harmony. Among them, Sam Swann stands out through his charismatic, laugh-triggering portrayal of Roderigo, while Charlotte Bate makes a discreet yet memorable appearance through her passionate interpretation as Emilia. However, the highest praise goes to Ralph Davis in the role of Iago, composing a delightfully macabre and deeply layered image of the insidious friend.
An ageless, shrewd observation on personal corruption, Othello comes back to the London scene with enough freshness and allure to charm us one more time. Current and relatable, while subtly (and not that subtly) making a statement about some of today’s concerns regarding prejudice, this new montage moves back to its home place high in the ranks – giving us a slightly transformed vision that mixes the best of old and new to form something that’s likely to fulfill the taste of younger generations and perhaps seduce the palates of more veteran connoisseurs. Faithful to what we know. Disloyal to what we expect. Enticing in all the rest.
All pictures credit to Johan Persson.
Othello plays at Shakespeare’s Globe’s Sam Wannamaker Playhouse until 13 April. Tickets are available on the following link.