Review: OTHELLO, Riverside Studios
Photo credit: Mark Douet
Lots of people will have studied Othello at school, though few will have imagined it quite like this before. The story of Othello is that of the eponymous Moor, who is a brilliant General in the Venetian Army, and who elopes in secret with Desdemona, the beautiful daughter of a senator. Determined to sabotage their love and destroy Othello, the malicious soldier Iago conspires to convince Othello that Desdemona has been unfaithful to him. As one of the Bard’s most notable tragedies, the consequences are disastrous, although in case you haven’t read it, we’ll give no more spoilers.
Trish Wadley Productions and Riverside Studios’ production pioneers a fresh take on the text, and there are three actors playing Iago. Under arresting direction from Sinead Rushe, Orlando James, Jeremy Neumark Jones and Michael C. Fox (who also composes and performs original music for the production) bring to life this ‘polyphonic’ characterisation. The idea is inspired by Eugene Gendlin’s approach to psychology, whereby each individual actor functions as a separate “voice” as part of a collective performance, rather than having one actor attempt to embody each multi-faceted aspect of the character. James, Neumark Jones and Fox have a slick and well-established synchronicity but contrasting energies. If one actor clarifies one thought, another will quickly chip in with an idea which is slightly different and thus we seamlessly delve deeper into the mind of a character who is often perceived as being so evil, he is impossible to truly understand.
The Iagos are strongly supported by Martins Imhangbe’s Othello. He has a presiding stage presence, yet his portrayal of the character is earnestly vulnerable, and sympathetic. Not at all simpering, Rose Riley as Desdemona is as assertive as she is impish and playful, and her pain can be truthfully felt in her powerful, guttural singing of the ‘Willow’ song.
Other noteworthy aspects of the production are Ali Taie’s sound and Alex Lewer’s lighting, used to great, quite harsh effect throughout, particularly during a striking tempest scene. It is also refreshing to see Desdemona and Emilia (Rachel-Leah Hosker, who is also Rodrigo) portrayed more as equal friends than as mistress and servant who lack mutual understanding. Instead, they share both pain and ideas to poignant effect.
This is an inventive, psychologically driven Othello, which leaves the door open for productions to explore the possibilities of the fascinating idea of polyphonic casting again. Something similar might work nicely for Ophelia, or Malvolio, or perhaps Lady Macbeth could be embodied afresh by the Three Witches?
Forget what you know about this tragedy and its characters.
**** Four stars
Reviewed by: Ellie Ward
Othello plays at Riverside Studios until 29 October, with further information here.