Carissa Dixon
Othello (Chiké Johnson) spirals out of control...
On opening night of Othello at American Players Theatre, actor James Ridge lost his grip on a prop dagger and it went flying into the audience. Ridge, who plays Iago, retrieved it swiftly, not missing a beat. The improvisation provided evidence of the company’s professionalism and intensity.
Not that we need proof. APT’s actors are some of the nation’s finest, and they show their range in this production of Shakespeare’s tragedy. Othello, first performed in 1604, deals with issues still relevant four centuries later: racism, gender inequality, war, love and betrayal.
Othello (Chiké Johnson), the Moor, a general in the Venetian military, has just married a senator’s daughter, Desdemona (Laura Rook), in secret. In his service are the loyal and affable Cassio (Nate Burger) and the scheming and manipulative Iago. Jealous of Cassio’s rank and harboring seemingly irrational hatred for Othello, Iago sets in motion a plot to destroy them.
After being forced to defend their marriage in front of Desdemona’s outraged father (Brian Mani), everyone’s attention turns to a Turkish invasion of Cypress, where Iago’s foul plot becomes more brazen and leads to devastating violence.
Several aspects of the production distracted from the excellent acting. The set and costumes are intentionally incongruous. Clumpy boots are festooned with buckles galore, more Mad Max than Shakespeare. I found myself obsessing about the way they contrasted with the more classic robes and gowns from designer Matthew J. LeFebvre.
Andrew Boyce’s set of curved copper tubes of varying heights surround a platform that hovers over flat, rectangular pools of water, resembling a sleek lobby in a contemporary art museum. But when a traditional, heavy bed is pulled out, it breaks the spell.
Director John Langs has led the cast to impressive heights, but some choices got my hackles up. When Iago and Othello prepare for practice with fencing foils, their warm-up routine is oddly modern and seemingly prescribed by a very current personal trainer.
Those distractions aside, Johnson’s Othello is a formidable presence on stage, initially radiating confidence and discipline. But as Othello responds to Iago’s constant lies and insinuations we watch him spiral out of control. He shows tenderness and joy with his new bride, but as doubts take hold his body oozes rage, shame and desperation. And as Desdemona, Rook is lovely and slight but tougher than you’d imagine.
Ridge is vile as Iago, an unrivaled super villain who warns, “I’ll pour this pestilence into his ear.” With his sharp features and tightly wound physicality we can almost see him forming his evil machinations — taut skin over muscle.