A ferocious and pulsating Othello that shoves the Bard on a bar stool.
Despite being one of Shakespeare’s finest works, one aspect of Othello that can sometimes feel distant is the characters’ obsession with military rank. In a modern world where militarism and hierarchy is as unpopular as ever, why would these men define themselves through their title? Frantic Assembly bring a prescient reminder that, whether in the barracks or at the pool table, men will act recklessly when their honour is threatened.
Frantic Assembly have staged this production before, in 2008 and 2014, but they bring it to the Lyric Hammersmith after a smash-hit national tour at a time when masculinity feels at its most pressured and volatile. Most of the action takes place in a pub, a Spoons-y mesh of tattered leather and drab upholstery (set design by Laura Hopkins). In combination with the costume (Alice McNicholas), matching tracksuits and spray-on skinny jeans abound, it’s a recognisable setting that renders the play’s hierarchy and violence as relevant as ever – Othello and Iago could easily be seen at your local getting lairy over a spilled drink.
As to be expected from a Frantic production, the movement is top-notch. Characters glide over, under and in-between each other, pool cues feel like extensions of their arms, they puppet and are puppeted. Breaking from stylised movement into violence makes it that much more brutal. I’m not sure why but it does.
The command of Shakespeare is solid. The verse trips on smoothly and it’s refreshing to hear such a variety of accents, from Scouser to Scots, speaking classical text. At times however, the words aren’t as lived in as the movement and the spectre of ‘the Shakespeare voice’ looms large.
Michael Akinsulire is a fiercely layered Othello. He’s a hot-headed general, bug-eyed when challenged, but in moments of intimacy with Desdemona his care and humour give us wonderful insight into his softer side. We completely buy into their coupling, Desdemona’s confusion at his erraticism and desire to bring him back. The rest of the ensemble prop him up well. Joe Layton is a menacingly energetic Iago. Chanel Waddock brings cheek and charm to Desdemona while Kirsty Stuart’s Emilia feels Cassandra-like, always lurking and observing but unable to prevent the inevitable downfall; her ‘it is their husbands’ fault If wives do fall’ takes on fresh life in the rag-tag pub toilet.
In many ways the production feels filmic, both to its benefit and detriment. The precision of Scott Graham’s direction, especially in the Guy Ritchie-esque fight scenes, is incredibly effective in directing our attention and ensuring that plot beats aren’t lost in the furore. The score (Hybrid) is cinematic, and while some orchestral swells elevate the drama, some are overbearing and detract from the conflict on stage.
Boys will be boys and boys will back boys. This production has chosen an excellent focus, male friendship and how loyalty within them can be corrupted. The men in Othello are bonded through violence and thus express affection to each other through violence towards others. That, coupled with a desperate need to maintain one’s reputation, makes the horror at the play’s end utterly credible and current.