‘Othello’ review
‘Executed masterfully on every front, Othello is an epic performance of love, jealousy and corruption that anyone would be remiss not to see’
Shakespeare’s Othello at the Assembly Rooms Theatre, contrary to its own tragic ending, represents nothing short of a triumph for the debut of Roots Theatre Company. Telling the story of the general Othello and the corruption of his love for the noble Desdemona through Iago’s Machiavellian plotting, Shakespeare’s themes of race, honour, and love remain as poignant today as they did in 1604.
The creative vision of Co-Directors Aali Angir and Bea Pescott-Khan is clear immediately upon entering the AR and seeing it draped in flowers, which remain a motif throughout the show (as explained on Instagram in the marketing of Co-Producers Nicola Ho and Jamie Duncan). The direction brings a variety to this ages-old play; use of levels with a downstage apron and small upstage platform highlight spatial shifts and power dynamics between characters, while the tragedy and emotional substance of the play is balanced by small comedic moments that allow some levity. Several of these moments can be accredited to Robyn Bradbury’s movement direction, which includes some hilarious dancing, as well as fight choreography executed seamlessly by the cast. Much of the beauty of this production is in its simplicity, which allows its more intense moments to pack an even harder punch.
Ollie Painter presents all the layers essential to the portrayal of such a complex character as Iago. Shifting frequently between charming and convincing in his covert manipulation to a more sinister honesty in his soliloquies, Painter takes full control of each scene, playing not only the other characters but the audience as well. The villainy of Painter’s Iago is matched by the immutable presence of Dan Katsande’s Othello. Effortlessly commanding from the moment he steps on stage, Katsande embodies Othello, with every response through his descent into near total madness feeling entirely natural. In both his moments of quiet reaction and emotional outburst, Katsande leads this production with authenticity and power.
Opposite Katsande, Liv Fancourt is a deeply empathetic Desdemona. She is strong in her convictions, making her vulnerability in the play’s final moments all the more tragic. A special mention must go to Fancourt’s angelic rendition of the ‘Willow Song’, which really brings out the gentler sweetness of Desdemona. By her side, Amaya Uppal is an unshakeable Emilia, bringing absolute confidence to every scene. However, when this is finally challenged, Uppal’s portrayal of desperation and devastation is haunting, and undeniably steals the scene.
Sam Garratt brings a perfectly blundering, nervous energy to Roderigo, complementing Painter’s assurance as Iago. Cillian Knowles brings a suave ease to Cassio (and plays an excellent drunk). Alongside him, Becca Morgan (Bianca) is assured and ultimately genuinely emotional. Ross Killian embodies an affronted older man as Brabantio, and he and Morgan, as well as Nia Keogh-Williams, Nefertari Williams and Jasper Hinds, all excel at multi-rolling various members of Venetian and Cypriot society.
All aspects of these two worlds are brought out fantastically by the production team behind this show, including Production Manager Cassia Thurston (assisted by Tom Haigh). Every aspect of the production runs smoothly and purposefully (a credit to Beatriz Camrotte’s stage management, assisted by Gemma Christie), as Leyla Aysan’s lighting design (assisted and operated by Molly Winchurst) works together with sound (designed by Emilia Edwards and operated by Shaan Thomas) to transform the Assembly Rooms stage, from nighttime Venice to a raging storm to the chaos of Cyprus.
Aysan and Winchurst’s lighting deserves special recognition, as they beautifully utilise spotlights and darkness to amplify the emotional weight of several scenes. Transitions between scenes are handled expertly, as blackout music maintains the shows atmosphere while the stage crew (Eva Tozzi, Lucy Smith, Tom Haigh) handle a multitude of props.
Overall, every part of this production came together stunningly, taking the audience on a complete journey up until its inevitable final tragedy. Executed masterfully on every front, Othello is an epic performance of love, jealousy and corruption that anyone would be remiss not to see.
By Lucy Chisholm.
Othello is showing at the Assembly Rooms Theatre on Friday 1st May and Saturday 2nd May at 7:30pm.