Original Article at Review Plays
“There’s More To This Moor”
by William Shakespeare
The Lillian Theatre
Then must you speak
of one that loved not wisely
but too well;
Of one not easily jealous,
but being wrought
perplex’d in the extreme
Four hundred years after the inaugural presentation of Othello, the Company of Angels brings forth a new version of the tragedy. New, because it’s one of the few times when the entire version – full length and uncut is presented. Carefully adhering to the Arden text, the Angels face a dilemma. How can a theatre company put up a three and a half hour version of the the Melancholy Moor without making it the Monumental Bore?
For starters, they found an excellent cast that was capable of engaging the audience with the very accessible text and with believable acting. Then they add what they call a hip soundtrack and LCD projection to “enhance the experience.” The set is barely intrusive and non-existent, and while the video slides are hard to see and don’t really add that much, the opening video clip of Desdemona is whimsical and sets the mood nicely. What about the hip soundtrack? Sorry – can’t recall one note!
Some scholars believe that Othello is one of Shakespeare’s strongest plot driven tales, exploring the inner emotions of doubts, jealousy, inadequacy and evil.
The issue of race is paramount, as everyone is shocked that a beauty like Desdemona (Victoria Ullmann) would wed a Moor (Marc Antonio Pritchett).
Especially hurt is her father, who after some rants and raves finally accepts the fact and reluctantly accepts that they are married – then storms off never to reappear. (Leo Weltman)
The marriage to a Moor keeps coming up as the tragedy unfolds and, Iago who understands about jealousy and evil, uses this to forge the plot that anchors the play. John Cady’s Iago starts as a smart alecky soldier, self indulgent and cocky who becomes incensed when he learns that Cassio has been elevated to Othello’s right hand man, passing him over. From that moment his anger and jealousy begin to foment a plan to get back at The Moor and the more the anger festers, the more his sense of morality degrades, sinking him deeper and deeper into a loathing murderous plan. Iago’s simple plot aims more at the mental than the physical punishment. First, in the famous “corruption scene” Iago manages to insinuate that Cassio and Desdemona are having an affair. The seed planted, he slowly convinces Othello that Desdemona is having an affair with Cassio, and while Othello is a proud and valiant soldier, his self doubts soon gnaw away at his trust for his wife. The ways in which Iago manipulates the action are brilliant, managing to use minor events and circumstances to further his argument, and the way Cady presents the character is equally brilliant, with a zest for intrigue and malice.
Marc Antonio Pritchett’s Othello is a man concerned with his profession and his honor, loving Desdemona with quiet intensity. Other Othellos have been explosive and volatile – Pritchett’s is deliberate and almost understated, slow to react to Iago’s accusations, but when convinced, stubbornly unwilling to listen to reason. As co-director, Pritchett makes Othello almost a secondary character to Iago.
In spite of some program notes, there are unspoken questions that loom as to whether Shakespeare is implying that Othello is more susceptible to jealousy because he married a white woman or is Iago making Othello believe that his wife would rather be with a white man; does Othello believe this is a simple case of lust and desire between a man and a woman?
When issues of loyalty and deception are mixed in you have a powerful drama, wonderfully played by the excellent cast who understands the underlying subtexts in the plot and brings out the nuances and intricacies of the play.
It’s doubtful that Iago could have foreseen the ultimate resolution of his plot, but the audience certainly appreciated the fast paced action and the many cynical references that often brought laughter in the midst of chaos.
Shakespeare’s famous body count is far less in this play as the only victims are Desdemona, Emilia, (killed by husband Iago), Roderigo and Othello, who commits suicide. Iago, eventually accused of murdering his wife, Emilia is taken prisoner and presumably will be put to death for his crime.
It’s possible that this production will be the only one to present the full text of the play for some time, as most change or abbreviate the play in an effort to make it easier for the audience. Deciding to present the full length version is a gutsy move on the part of the production team, but thanks to the actors who are fully committed, they manage an excellent job. By the time you read this, they will have worked out a couple of kinks with the lighting and timing, all of which will provide and excellent revisit of one of Shakespeare’s saddest and, for our times, most relevant tragedies. Thankfully the Lillian Theatre has good seats which provide a good view no matter where you sit; the production will run through February 20th. Reservations at: (323) 960-4429 (all major credit cards accepted).
Definitely a “Pick of the Week”
THE CAST: Othello – Marc Antonio Pritchett, Iago – John Cady, Desdemona – Victoria Ullmann, Cassio – Phillippe Chang, Emilia – Cecelia Specht, Roderigo – Anthony Palermo, Lodovico – Anthony Palermo, Lodivico – Carlos De Alba, Brabantio/Clown – Leo Weltman, Duke/Gratiano – Leigh Rose, Bianca – Merry Resnick, Montano – David Lipson, Background – Sierra Makepeace.
“Othello – There’s More To This Moor.”
Directed by: Marc Antonio Pritchett and Cecelia Specht
Presented by: Company of Angels and Lyric Hyperion Productions
Produced by: Paula Manning – John Cady – Marc Antonio Pritchett
Associate Producers: Carolyn Curtis – Barbara Mealy
Stage Manager: Freda Antoine
Costume Designer: Ellen Mcbride Sheppard
Dramartugy: Dave Jamison
Technical Director: Tasia Bebiase
Directors of Video Segments: Don Purnell – Carrie Specht
Graphic Design: Darryl Butman
Poster Layout: DNF Graphics
Photography: Larry Mitchell