Play #2: Othello
Once again, here's the media link. The clip doesn't show enough of the strongest Iago I've ever seen, but you'll get a sense of it, at least. Not quite the strongest Othello or Desdemona, but certainly in the top five.
First, the set: this was a production in the outdoor Elizabethan theatre, and I was intrigued at how much the scenic designer had managed to change the permanent look of the facade. The trim around all the doors and windows had been painted black, and the windows had large black shutters added that served to cover up much of the ornamentation and brownness of the standing structure. Framing each door and window were fluorescent tubes, while the stage floor was matte black, with two large white squares. A nice visual representation of one of the basic issues of the play. Throughout the play, there were very little props brought in. Often characters would walk through carrying something that helped set a scene, but there were only TWO pieces of stage furniture...at one point, a hassock, and then of course the bed in the last scene. Sure did focus a lot of attention on that bed--a nice touch, that kept the feel of the play deeply psychological.
Next, the players: Two things happened almost immediately that tripped some of my emotional triggers. First, Iago (the fine actor Dan Donohue, who tours as Scar with the "A" company of The Lion King at present when he's not at Ashland) somehow had almost ALL of the physical tics and speech mannerisms of Psycho Ex-Boyfriend, which made it a lot easier for me to get into the mindset that, with all of Iago's on-the-fly "reasons" for his hatred, his vitriol encompasses both all of those reasons and none of them. Rather than having to come up with specific motivation for that character, I find it much more chilling--and effective--to think, perhaps he's just that bad. There ARE such people in the world, alas. And not being able to fully explain or justify his actions heightens the tragedy. A brilliantly underplayed first act from Iago. No chewing of the scenery. Just quiet, quiet evil and menace, with occasional flashes of what is seething underneath.
He leaned on the "I think Othello screwed my wife" fairly hard, but managed to walk a fine line in not making that motivation the only one. During the intermission, the Better Half and I had a rousing discussion about that. One major thing we came up with because of this production is the idea that since Iago is so corrupt, he finds it impossible to believe that everbody else isn't like he is. Therefore, the transformative effect of the play is Iago's manipulative skill at making the external world mirror what's in his head. That is to say, Othello becomes consumed with unreasoning jealousy, just as Iago is.
Second, the actor playing Brabantio looked startlingly like my own father. When he came out onto the balcony after being roused by Rodrigo and Iago, I gasped audibly. I turned to my mother-in-law and said, "He looks just like my father," just as she turned to me and said, "He looks just like your father!" We've seen Tony DeBruno in other things here and had never noticed a resemblance. There was just something about the lighting and makeup and the way he was holding himself that was more than a little freaky. It hit me hard--and added levels to the "I had rather to adopt a child than get it" speech that were unexpected and disturbing.
The actor playing Cassio is one of those who has come to my uni for the annual school visit that we participate in--it's interesting that we got him a few years ago, and now he's clearly one of the young up-and-comers in the company. A fine job from the rest of the ensemble, and a very strong production overall. A surprise to me: the HA preferred Othello to Midsummer. When I asked why, he said it was because the former was easier to follow. When I think about it, that does make sense--the latter is certainly far more poetic. There might be an element there of preferring the blood and gore (of which there was a very dramatic moment, right at the end) to all the kissing. He is 11 1/2, after all.
Our afternoon play is Breakfast, Lunch and Dinner, and tonight's offering is Our Town. The in-laws and the Heir Apparent will be doing something fun and non-sitting-like in the afternoon, and joining us in the evening. The latter play has caused quite a furor in some circles, as it is a NON-SHAKESPEARE. Playing in the OUTDOOR theatre, o heresy, o change, o tempe, o mores. New artistic director making sweeping changes...what are ya gonna do?
More anon.
First, the set: this was a production in the outdoor Elizabethan theatre, and I was intrigued at how much the scenic designer had managed to change the permanent look of the facade. The trim around all the doors and windows had been painted black, and the windows had large black shutters added that served to cover up much of the ornamentation and brownness of the standing structure. Framing each door and window were fluorescent tubes, while the stage floor was matte black, with two large white squares. A nice visual representation of one of the basic issues of the play. Throughout the play, there were very little props brought in. Often characters would walk through carrying something that helped set a scene, but there were only TWO pieces of stage furniture...at one point, a hassock, and then of course the bed in the last scene. Sure did focus a lot of attention on that bed--a nice touch, that kept the feel of the play deeply psychological.
Next, the players: Two things happened almost immediately that tripped some of my emotional triggers. First, Iago (the fine actor Dan Donohue, who tours as Scar with the "A" company of The Lion King at present when he's not at Ashland) somehow had almost ALL of the physical tics and speech mannerisms of Psycho Ex-Boyfriend, which made it a lot easier for me to get into the mindset that, with all of Iago's on-the-fly "reasons" for his hatred, his vitriol encompasses both all of those reasons and none of them. Rather than having to come up with specific motivation for that character, I find it much more chilling--and effective--to think, perhaps he's just that bad. There ARE such people in the world, alas. And not being able to fully explain or justify his actions heightens the tragedy. A brilliantly underplayed first act from Iago. No chewing of the scenery. Just quiet, quiet evil and menace, with occasional flashes of what is seething underneath.
He leaned on the "I think Othello screwed my wife" fairly hard, but managed to walk a fine line in not making that motivation the only one. During the intermission, the Better Half and I had a rousing discussion about that. One major thing we came up with because of this production is the idea that since Iago is so corrupt, he finds it impossible to believe that everbody else isn't like he is. Therefore, the transformative effect of the play is Iago's manipulative skill at making the external world mirror what's in his head. That is to say, Othello becomes consumed with unreasoning jealousy, just as Iago is.
Second, the actor playing Brabantio looked startlingly like my own father. When he came out onto the balcony after being roused by Rodrigo and Iago, I gasped audibly. I turned to my mother-in-law and said, "He looks just like my father," just as she turned to me and said, "He looks just like your father!" We've seen Tony DeBruno in other things here and had never noticed a resemblance. There was just something about the lighting and makeup and the way he was holding himself that was more than a little freaky. It hit me hard--and added levels to the "I had rather to adopt a child than get it" speech that were unexpected and disturbing.
The actor playing Cassio is one of those who has come to my uni for the annual school visit that we participate in--it's interesting that we got him a few years ago, and now he's clearly one of the young up-and-comers in the company. A fine job from the rest of the ensemble, and a very strong production overall. A surprise to me: the HA preferred Othello to Midsummer. When I asked why, he said it was because the former was easier to follow. When I think about it, that does make sense--the latter is certainly far more poetic. There might be an element there of preferring the blood and gore (of which there was a very dramatic moment, right at the end) to all the kissing. He is 11 1/2, after all.
Our afternoon play is Breakfast, Lunch and Dinner, and tonight's offering is Our Town. The in-laws and the Heir Apparent will be doing something fun and non-sitting-like in the afternoon, and joining us in the evening. The latter play has caused quite a furor in some circles, as it is a NON-SHAKESPEARE. Playing in the OUTDOOR theatre, o heresy, o change, o tempe, o mores. New artistic director making sweeping changes...what are ya gonna do?
More anon.