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Review by Seth Rogovoy
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[THEATER REVIEW] Othello at Shakespeare and Company
7.27.08
John Douglas Thompson plays the title character in Othello [photo by Kevin Sprague/Courtesy Shakespeare & Co.]
SHAKESPEARE & COMPANY
Othello
Founder's Theatre
Through August 31, 2008
by Seth Rogovoy
(Lenox, Mass., July 27, 2008) -- No single performance by an actor is likely to top that of John Douglas Thompson in the title role of this summer's production of Othello at Shakespeare & Company. Thompson is a commanding, elegant presence on stage, and his interpretation of the character as noble in intent and able to rise up against the constant barrage of insults flung at him as a "Moor" (Thompson plays him as an African) all while he successfully defends his lords on the battlefield is utterly convincing.
Unfortunately, the same cannot be said for the other performances, which lend credibility problems to Thompson and throw the whole production, directed by Tony Simotes, out of balance.
While Simotes conducts the show, which makes great use of the set designed by Yoshi Tanokura, lighting by Les Dickert, and sound by Scott Killian, in a pretty straightforward manner, it's almost too straightforward. While Michael Hammond's characterization of Iago as a cunning schemester might work in another production, here the performance lacks the conniving spirit needed to push Othello over the edge, into believing that his wife, Desdemona, has betrayed him. While we follow Iago's reasoning, we're left wondering about his motivation. And without a really strong motivation, we're also left wondering just what he said that pushed the seemingly dispassionate, unbelieving Othello over the edge to totally buy Iago's line about Desdemona's illicit affair with Othello's assistant, Cassio, played sympathetically by LeRoy McClain.
What's worse, Merritt Janson's Desdemona doesn't come across as either someone to whom Othello would be so incredibly devoted, nor as a particularly sympathetic character when she is misunderstood by her husband. Frankly, all the fuss surrounding her supposed rampant sexuality exists only in the text, but nowhere on the stage.
The supporting cast, including company favorites Jonathan Cory and Elizabeth Aspenlieder, do their best in minor roles, but even they seem to have wandered in from another play altogether.
Perhaps the play will jel better over time -- I saw it on opening night -- and one could ALMOST say that it's worth the price of the ticket alone just for Thompson's performance.
Almost....
Seth Rogovoy is Berkshire Living's editor-in-chief and award-winning critic-at-large.
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