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Act 4, scene 2 Othello questions Emilia about Cassio and Desdemona’s relationship, acting as if Emilia is the mistress of a brothel and Desdemona one of her prostitutes. Othello denounces Desdemona to her face as a whore. Desdemona turns for help to Iago, who reassures her.Roderigo, protesting to Iago that his gifts to Desdemona have won him no favor from her, threatens to ask for the return of the gifts. Iago counters this threat by telling Roderigo that Desdemona will leave for Mauritania with Othello unless Roderigo can delay them. The best way to do this, says Iago, is by killing Cassio. Katie Macintyre’s Desdemona was sweet and guileless, with a true note of desperate horror, as she begged for her life. First staged in 2008—and subsequently revived in 2014—Frantic Assembly’s reimagining of Othello is a bold and visceral piece of work. Cyprus serves as a contrast to Venice, a place where the normal structures and laws governing civil society cease to operate. Such a world is common within Shakespeare’s plays, though far more prevalent in his comedies. In A Midsummer Night’s Dream and As You Like It, for example, the forest functions as an unstructured, malleable world in which the characters can transgress societal norms, work out their conflicts, and then return to society with no harm done. When I learned that this staging would last only 110 minutes (excluding interval), I was sceptical to say the least. How could the company possibly do justice to Shakespeare’s play when so much of the text (about an hour’s worth) would have to be excised? I am pleased to report that Scott Graham and Steven Hoggett prove themselves to be sensitive and judicious adaptors, preserving the structure of the original tragedy and the lion’s share of its most memorable dialogue.
Like Cyprus, Othello is half Venetian, half “other,” and his predicament is the result of forces that are half comedic mischief and half deep-rooted, essential evil. Perhaps as a way of embodying these two clashing worlds, the play continues to upset the audience’s relationship to time. Iago claims, “This is [Othello’s] second fit. He had one yesterday” (IV.i. 48). We have no basis on which to judge this claim, but if the play’s action does, in fact, span three days, then Othello’s first fit must have taken place before Iago even provoked his jealous rage. Other elements which contribute to the dynamism of the production include Hybrid’s propulsive dance music and powerful lighting from Natasha Chivers and Andy Purves. Michael Akinsulire excels as Othello, capturing the strength and charisma that makes the character so admired in the first half of the play, before collapsing into wide-eyed paranoia during the second. Also impressive is Joe Layton as Iago, who skilfully conveys the false jocularity that makes Shakespeare’s most cunning villain seem so trustworthy.The title role of Othello was played by the talented Michael Akinsulire — whose portrayal of the protagonist captivated not only the audience but the cast surrounding him, as he recited his many monologues throughout the play. I will definitely be keeping my eye out for his future work as I can see more exciting and well-deserved opportunities coming his way. Michael Akinsulire as Othello Lodovico’s arrival from Venice serves as a reminder of how great Othello’s transformation has been. As he stood before the senate at the beginning of the play, he was a great physical as well as verbal presence, towering above Brabanzio in stature and in eloquence, arresting the eyes and ears of his peers in the most political of public spaces, the court. After a short time in Cyprus, Iago has managed to bring about Othello’s “savage madness” (IV.i. 52). Othello loses control of his speech and, as he writhes on the ground, his movements. Othello’s trance and swoon in this scene present him at the greatest possible distance from the noble figure he was before the senate in Act I, scene iii.
Iago explains that he will make Cassio retell the story of where, when, how, and how often he has slept with Desdemona, and when he intends to do so again. When Othello withdraws, Iago informs the audience of his actual intention. He will joke with Cassio about the prostitute Bianca, so that Cassio will laugh as he tells the story of Bianca’s pursuit of him. Othello will be driven mad, thinking that Cassio is joking with Iago about Desdemona. A special mention must go to the fantastic Tom Gill as he portrayed the wrongly accused Cassio, who had some of the most intricate moments of choreography in the show. Think Shameless or This Is England; a bar with a pool table and a slot machine; bottled beers; everyone off their heads or on a short fuse in high-street zip tops, trainers, hoodies, stretchy sportswear and joggers. One long Friday night, full of broken glass, jealousy, betrayal, revenge and the darkest intents; a darker brew of John Godber's Bouncers, where the booze meets the bruise. Othello has recognized his handkerchief and, coming out of hiding when Cassio and Bianca are gone, wonders how he should murder his former lieutenant. Othello goes on to lament his hardheartedness and love for Desdemona, but Iago reminds him of his purpose. Othello has trouble reconciling his wife’s delicacy, class, beauty, and allure with her adulterous actions. He suggests that he will poison his wife, but Iago advises him to strangle her in the bed that she contaminated through her infidelity. Iago also promises to arrange Cassio’s death. Act 3, scene 1 Cassio arrives with musicians to honor Othello and Desdemona. As Iago has recommended, Cassio asks Emilia to arrange a meeting with Desdemona, even though Emilia assures him that Desdemona is already urging Othello to reinstate him.
Cast
I encourage all Shakespeare fans or anyone looking for a night out full to the brim with drama to watch this show — you don’t want to miss it! Scott Graham’s retelling of the classic Othello bursts with violence, betrayal and jealousy. Set in a run-down pub, rival gangs battle over what is theirs, and friends turn enemies as lies are spat and pushed around the group. Within this at times pulsing red pub a microcosm of the society Shakespeare created plays outs with loves and hopes born and torn down. Frantic Assembly’s choreography is often extremely complex, yet their numerous movement sequences always look effortlessly performed.
Othello plays at the York Theatre Royal until Saturday 22 October when it continues its tour across England, finishing in early February 2023.
Creatives
The action of the play takes place almost wholly in Iago’s world, where appearances, rather than truth, are what count. Because of Iago’s machinations, Cassio is perfectly placed to seem to give evidence of adultery, and Othello is perfectly placed to interpret whatever Cassio says or does as such. Throughout the play, Othello has been oblivious to speech, always sure that speech masks hidden meaning.
Act 2, scene 1 The Turkish fleet is destroyed in a storm, while Cassio and then Desdemona, Emilia, and Iago arrive safely at Cyprus. Desdemona anxiously waits for Othello. When his ship arrives, he and Desdemona joyfully greet each other. Iago, putting his plot into action, persuades Roderigo that Desdemona is in love with Cassio and that Roderigo should help get Cassio dismissed from the lieutenancy. But this play stands or falls by its Iago. Jamie Smelt was terrific – plotting, scheming, playing his puppets at will, then turning to confide in the audience with a knowing glance that seemed to say: ‘‘You see what fools they are?.’’ Tremendous. Entire Play In Venice, at the start of Othello, the soldier Iago announces his hatred for his commander, Othello, a Moor. Othello has promoted Cassio, not Iago, to be his lieutenant.Iago crudely informs Brabantio, Desdemona’s father, that Othello and Desdemona have eloped. Before the Venetian Senate, Brabantio accuses Othello of bewitching Desdemona. The Senators wish to send Othello to Cyprus, which is under threat from Turkey. They bring Desdemona before them. She tells of her love for Othello, and the marriage stands. The Senate agrees to let her join Othello in Cyprus.In Cyprus, Iago continues to plot against Othello and Cassio. He lures Cassio into a drunken fight, for which Cassio loses his new rank; Cassio, at Iago’s urging, then begs Desdemona to intervene. Iago uses this and other ploys—misinterpreted conversations, insinuations, and a lost handkerchief—to convince Othello that Desdemona and Cassio are lovers. Othello goes mad with jealousy and later smothers Desdemona on their marriage bed, only to learn of Iago’s treachery. He then kills himself. Iago crudely informs Brabantio, Desdemona’s father, that Othello and Desdemona have eloped. Before the Venetian Senate, Brabantio accuses Othello of bewitching Desdemona. The Senators wish to send Othello to Cyprus, which is under threat from Turkey. They bring Desdemona before them. She tells of her love for Othello, and the marriage stands. The Senate agrees to let her join Othello in Cyprus. This direction (Scott Graham) kept us immersed in the action as they took us from the pub, to the toilet cubicle, to the outdoors, often only taking only one swift movement. It kept us connected with the story as it progressed — and this decision combined with a stage almost always occupied with the actors left no opportunity for the audience to be distracted.At many points, in fact, the plot of Othello resembles those of Shakespeare comedies in that it is based upon misrecognition and jealousy. The resemblances to comedy suggest that the misunderstandings of the play will be recognized and all will live happily ever after. But Cyprus, unlike the forest of A Midsummer Night’s Dream, is still connected to Venetian society, and the arrival of Lodovico strengthens the Venetian presence and reminds Othello of the necessity of safeguarding his societal and political reputation. Cyprus, then, becomes a sort of trap, a false escape, in which the societal norms that seem to have disappeared reemerge to capture the transgressors.
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