The most common thematic link in Shakespeare’s Othello to the present times has been race and patriarchy. While it would be grossly wrong to say that we are over these issues, the complexities in these two realms in contemporary society have simply multiplied with ever-increasingly polarising viewpoints. Clint Dyer’s Othello brings the production to “2022”’s National Theatre with scenographic brilliance, stellar performances, and contextual relevance. Performed by a powerful cast with Giles Terera as Othella distinguished from an all-white ensemble, Dyer’s Othello not only “cleans up”, both literally and figuratively, as witnessed in the beginning, the preceding production by Laurence Olivier of 1964 but also reinstates the fact that we are still far from a post-racial society. The strong and bold portrayal of women in this production further brings new life to the 400-year-old play.
The play opens to an eerie, bleak, a monochromatic mini thrust stage with projections of perhaps past productions projected on the backdrop. Swift flashes of bright lights in a dark space introduce the main character, with cheers and uproar from his comrades encouraging the audience to participate in the jubilation. The play moves forward with a sustained pace in the first half breaking at the brink of Othello’s commencing madness. The second half advances quickly to the tragedy waiting to occur.
What makes this production supreme is not just Shakespeare’s words but the coherence in design and performances. Spot-on, crisp, and dark! The “System” or a troupe of onlookers occupy the seats around the mini stage, changing positions in synchrony in response to the scene. They speak their own language, open to audience interpretation but seeming to represent Iago’s schemes. Played by Paul Hilton, this Iago seemed caricatured on Hitler in appearance and the “system”, his puppets, responding obediently to his autocratic evil. Dyer’s interpretation brings out the strength in the female characters. He shows a confident and strong-willed Desdemona performed eloquently by Rosy McEwen as opposed to a historically passive and weak rendition. Her physical and vocal assuredness starkly contrasts the mentally ever-weakening Othello suggesting relevant and rounded power struggles between the sexes, motivating the latter to eventually use his macho strength to dim her light.
The tenderness and affection between the duo are beautifully portrayed, openly visible to the “system” and the barrenness of the postmodern set (brilliantly designed by Chloe Lamford), probably ensuing jealousy and other motivations in Iago to bring Othello to his knees. Emilia played by Tanya Franks grows in strength and determination towards the end to unleash her husband’s schemes but is ultimately silenced by him, reinstating the theme of abuse against women. As an ensemble, the movement direction (Lucie Pankhurst) was measured and meticulous, in tandem with the suspenseful sound composition (Pete Malkin and Benjamin Grant, Sola Akingbola) and dramatic light design (Jai Morjaria). The physicality of the ensemble distinctly isolated each character in highlighting their unique trait. The all-black costumes (Michael Vale) further add thematic value to the play.
What I thoroughly enjoyed in this production was the delivery of lines by the performers reinvigorating interpretations and making them contextual, emphasising the primary function of theatre which is to bring it to life. None of the characters felt stock-like or driven by singular motives; rather the complex web of motivations added to the coherence of the design of the play which ironically suggested the void and barrenness in this doomed tragedy.
Lively, bleak, and relevant! This is a must-watch at the National Theatre playing until 21st January 2023. https://www.nationaltheatre.org.uk/shows/othello
Reviewer: Khushboo Shah
Reviewed: 3rd December 2022
North West End UK Rating: ★★★★★