Othello
The Globe Theatre – 2007
It
may be a surprise for some reading this that Shakespeare's Globe Theatre in London films
their productions and then sells them on DVD. For most, this probably isn’t a
surprise at all, but what did surprise me was their availability on Netflix. So
about two weeks ago, in my quest to see and/or read all of Shakespeare’s plays,
I found Othello at Shakespeare's Globe, clicked ‘add to queue’ and happily awaited its
arrival in my mailbox.
Prior
to watching the production, my familiarity with Othello was slim. I had
studied one of the speeches in school and seen Desdemona's death scene many times
over in films like Stage Beauty amongst others, as well as playing Othello,
myself, in my Advanced Acting Shakespeare course in London (Act III, sc iii). I
knew the story and a hair of the text, but I hesitated to read it. I have this
firm belief, instilled in me by my education I’m sure, that Shakespeare is only
truly understood when seen and heard, the sounds are too important to be
uttered silently in the mind while one reads quietly. Therefore, I waited to
familiarize myself entirely with the story until I could find a suitable film
version. What I found was even better, a stage production from Shakespeare’s
Globe.
From
my experience with Othello, 'slim' though it may be, and from what I have read by
Kenneth Tynan, I had Othello in my mind as a calm and gentle man until the seed
of doubt planted by Iago begins to fester and grow. When I watched Eamonn
Walker as the moor, I felt that he was a man tortured by his dark past, but
keeping it locked up and tempered with the help of Desdemona and her gentle
nature. In act I, we see flashes of a temper in Eamonn, after all, from the
direction of the program, it is a no-holds barred, intensely emotional and intensely
violent production where flashes of anger are not wholly uncommon in any
character (save the impetuous Roderigo who is all bark with very little bite).
This portrayal of Othello is appropriate, it fits the world on stage as well as
the text on paper. However, for my tastes, Othelo was all anger and pain while
much of the love was stripped away from Act III – Act IV, only returning with
the remorse and sorrow of learning the truth of Desdemona’s innocence. I would
like to think that he means what he says in Act III, sc iii,
Nor from
mine own weak merits will I draw
The
smallest fear or doubt of her revolt,
For she had
eyes and chose me. No, Iago,
I’ll see
before I doubt, when I doubt, prove,
And on the
proof there is no more but this:
Away at once with love or jealousy!
(Act III, scene iii)
However, in the voice of Mr.
Walker, these words drip with self-doubt, fear and a decision to condemn
Desdemona for a crime yet unproven. It seems to me a very confused portrayal of
Othello, muddled by self-doubt, viable based on his past, but too quick and too
rash for my taste. Give me a calm, somewhat hopeful Othello up until the end
any day.
Do
not think that I am saying that Mr. Walker did not give the audience a strong
and formidable Othello. All I am saying, is that perhaps it was he was so
strong and formidable, so military (which does make sense), that the softer
speeches and moments of tenderness that Othello bestows on Desdemona,
especially before the murder, may have seemed a tad muddled. In reading, and in
studying, to me, the speech that begins “It is the cause, it is the cause my
soul” begins soft and quiet, takes a journey from resolve to pain and doubt
back to a bitter and terrified resolve once more that is all pain and heart
ache to witness. Mr. Walker came at the speech with harsher tones, louder pain
and an anger that, while justified, gave me a feeling of distance with Othello.
I no longer felt pain for both Desdemona and, but was now purely sympathetic to
Desdemona, both innocent and ignorant of the charges laid at her feet.
Enough
talk of Othello; for I find I cannot go on without mentioning Tim McInnerny’s
ingenious, inglorious and all too cunning Iago. This is a smart character, a
genius of men and manipulation; he could lead the world to do great things, but
embittered by fate and misfortune, leads men into terrible downward spirals of
self-destruction. We should not like him. By all our human instincts and
feelings of pity and heartache that we feel for Othello, Desdemona, Cassio and
even poor little Roderigo, we should not like Iago. Yet… I find I must admit he
is terribly funny and horribly clever in a way that stuns an audience and any
man into a sort of horrible fascination. I can believe the smoke and mirrors
that he sets before his targets. Were it not for his confidence in the
audience, I might find myself fooled right along with all the rest. Tim
McInnery explores every angle of manipulation within this production, from
simple camaraderie, to terrible sadness, there is no route he will not
explore. And again I say, we should not like him so much, but he is far too
clever and charismatic, that it seems impossible not to be enthralled by him.
This. This is what makes the ending so faultlessly plausible. For if Iago were
not so, as I have stressed, enrapturing, the credibility of the plot and the
play would crumble into a light melodrama of gullible fools, instead of a
tragedy of honest men.
The
women of this production are not characters that I would usually give great
credit to. While they are not without merit, I would not compare Desdemona with a role like Queen Margaret of Richard III (hell, I wouldn’t even compare Ophelia to Queen Margaret), it is
a sparse part with perhaps two truly great scenes. And in these two scene, Zoe
Tapper gives a fantastic performance. But I almost feel that her sweetness
against Mr. Walker’s harsh anger is almost too opposite for me to believe their
attraction to one another. This odd contrast is matched in the paring of Mr.
McInnerny’s Iago and his wife, Emilia, who while feisty, is too in love with a
man who mistreats her so extremely that I find myself disbelieving that there
could be any love on either end. In moments like this, I find I must believe
that the actors were hired on the basis of their personal merit (for each is extremely
talented in their own right) and not on their chemistry with one another.
Despite
these somewhat harsh criticisms, it is a very fine production of a
rather intricate study of human nature focusing on the fear and self-doubt
inside all of us. Roderigo and Cassio alone will bring a smile to any audience
member for at least the first two acts. And Nick Barber is a handsome enough
Cassio that I can’t imagine any female with a healthy interest in attractive
men could not enjoy watching him. It is a fine show, with a young, talented and
attractive cast of characters, full of life, energy and vitality that shines
and animates the lengthy speeches set before them. Whether you are well versed
in Shakespeare, Othello, or none of the above, this play and production provide a glimpse
into human life that is relatable and understandable to all.
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