A fresh and clever adaptation with the potential to be taken further
Directed by Anthony Almeida, Shakespeare’s Othello has come to the Citizens Theatre in Glasgow, presenting the well-known play through the lens of the 1980s. Not the 1980s of Madonna (though the show certainly featured some fun numbers); but of the Falklands War and the shifting tides of power. While certain aspects of the adaptation did not feel as effective as desired, Almeida’s Othello is undoubtedly memorable and intensely unique in certain aspects.
The main problems lie in the clarity of the dialogue and in the utilisation of technology. The use of cameras allowed the play to capture the dread of modernisation and the sensation of always being watched, but sometimes detracted from the actual action and lines onstage. It also disappeared towards the end of the play. It would have been interesting to see technology feature more throughout, a recurring aspect of the play that audiences could occasionally watch, rather than happening infrequently and drawing more attention to itself by its sudden reappearance. Further, it was difficult to capture a lot of the dialogue, which left a large portion of the audience struggling to follow the conversations occurring. While actors and directors learn the show intimately from hearing it day in and day out, audiences often see only the one performance, and sometimes lack familiarity with Shakespeare’s language. Even knowing the text well did not prevent missing exchanges. Audience attentions seemed to diminish as a result of this: in future, slowing down slightly would allow audiences to fully experience the show in all its brilliance.
Two of the biggest strengths lay in the clever role costume played, and the acting that unfolded onstage. In most shows, costume changes are undergone behind the scenes, away from the eyes of audiences. Not Othello. Almeida’s decision to have one of Othello’s first scenes involve a stylised dressing from his wedding suit into his army gear works to establish this as a story about appearance and about conflicting roles. Costume is utilised brilliantly throughout the show and stands out as a unique aspect of this production.
“The real damage happens between people who love each other,” writes Almeida in the Director’s Note on the programme, and this angle works wonderfully to transform Othello into a story of love. The bleak nature of the text gains vitality. Characters drink and sing and dance and hug – even the villainous Iago feels newly alive, a combination of Almeida’s direction and actor Maanuv Thiara’s incredible characterisation, who is a uniquely exceptional performer. This version of the show allows characters to really leap from the text to the theatre stage, and every actor onstage rises to the job magnificently. Dwane Walcott’s Othello is heart-rendingly torn, a man on the brink. Cassio (Will Stanton) is painfully and brilliantly earnest, paralleled fascinatingly against the sincere foolishness of Roderigo (Matthieu Sys). As Brabantio, the talented Chris Gardner plays a character who is equal parts the fool, the bigoted opposition, and the grief-stricken father. Grace Hodgett Young plays a gritty, complex Bianca, appearing even when she does not have lines to linger in the minds of the audience long after she has left the stage again.
It is a scene with Desdemona (Phoebe Smyth) and Emilia (Rebecca Banatvala) that steals the show. Towards the end, as Desdemona fears a foreboding dread, she is comforted by Emilia, her maidservant and “friend.” Dying draped over Desdemona’s body, a la Romeo and Juliet, the power of love that Emilia had for her mistress transcends the violence of the men around them, and allowed the tragedy to truly take shape in the auditorium. Banatvala’s Emilia is desperate and wonderfully compelling, while Desdemona, by Smyth, is unflinching, a powerhouse on the stage and of faithfulness to her husband until the very end.
Despite its problems, this production of Othello was fascinating. With a few adjustments to the pacing and the use of technology, it has the potential to be an outstanding version of Shakespeare’s play, bolstered by its phenomenal actors and innovative director.
Othello runs from the 27th October to the 7th November at the Citizens Theatre in Glasgow.