Jesse Berger’s detailed and straightforward production of “Othello” opened Friday, July 7, the second in a trio of Shakespeare plays produced in repertory through Oct. 1 in The Old Globe’s Shakespeare Festival 2006.
The great tragedy joins “A Midsummer Night’s Dream” and “Titus Andronicus.”
Though he treads a fine line between insightful directorial innovation and downright interference ” especially in an epilogue tug of war ” Berger’s is one of the top five “Othello” productions in memory.
The primary reason for this is the excellence of the company, which is headed by Jonathan Peck, superb in the title role. He moves well, he possesses a magnificent vocal instrument, and he articulates the text ” for lack of a better descriptor ” trippingly.
His speech about his love, Desdemona (“She gave me for my pains a world of sighs”) is simply gorgeous. He is thoroughly believable as a seasoned general, inexperienced in the ways of love, unaware of his manipulation by his own ensign, the evil Iago (Karl Kenzler), whom he believes true and honest.
This Othello is devastating in his rage and sorrow when he realizes he’s killed a pure and innocent being.
Iago is consumed with and motivated by jealousy because Othello has chosen Michael Cassio (Michael A. Newcomer) as his lieutenant. Kenzler’s Iago is low-key, more the subdued slimeball than the scenery-chewing embodiment of evil one usually sees.
In low-key asides, he reveals his intent to the audience, which sometimes vocalizes its disgust and horror.
Because of Iago’s machinations to destroy Cassio, what began as an ecstatic love marriage between Othello and the maiden Desdemona (Julie Jesneck) is destroyed.
Jesneck, who plays a gauche and gawky Helena in “A Midsummer Night’s Dream,” is all grace, beauty and dignity as Desdemona. Her stunning innocence and devotion bring home the tragedy, so perfectly wrought by the masterful playwright.
Complicit in Iago’s deceptions, his wife Emelia gives Iago the piece de resistance “proof” he needs, a handkerchief presented to Desdemona by the Moor as his first token of love. Iago plants the strawberry-laden token in Cassio’s bedchamber.
Emelia is wonderfully portrayed by Celeste Ciulla, also cast as the evil Tamora in “Titus Andronicus.” She possesses a beautiful, cello-like voice and speaks the speech well, affecting in her eleventh-hour realization of her part in the tragedy.
Once set in motion, the tragedy is relentless.
Michael Urie scores as the foppish Roderigo, a gentleman of Venice who’s in love with Desdemona. At Iago’s urging, he sells all his worldly goods and follows the newlyweds to Cyprus, where Othello is posted soon after the nuptials. More clown than courtier, the foolish Roderigo, also Iago’s foil, provides what little comic relief there is. Needless to say, things do not go well for him.
Ralph Funicello’s basic set is beautifully complemented by sliding, semi-transparent screens that incorporate arches in their design. Linda Cho’s 17th century costumes are particularly apt, with a series of lovely gowns for Desdemona; silver-studded leather and an exotic bedchamber robe for Iago. The men are clad in dark hues, in court topped by the whisk collars emblematic of the era.
Advice to the groundlings: pay attention to the actors’ faces. Each is marvelously subtle and reactive.
Let us hope that all who’ve merely read the play will see it. That includes a kid named R. Birchard, who posted on Amazon.com: “I read this book last year in highschool [sic] for English class. It was awful.” Make that more like “awesome,” young Mr. or Ms. Birchard. More like awesome.
