Cork Arts Theatre
This Bruiser Company presentation is an exciting example of how a reduced cast and a small set can take a great play anywhere and celebrate its immensity.
Over two unflagging hours, six players defy the contradictions implicit in Shakespeare’s tale of love, jealousy and revenge and offer it as immediate and possible. Stripped by Patrick J O’Reilly of its original retinue of characters – some of whom are hinted at with the assistance of masks and murmurs – the drama is in a sense denied its context, yet is all the more concentrated for that.
As it is treated or perhaps attacked here, the motivating agent is essentially Iago: his envy foaming like yeast to expand his internalised conspiracy, Nick Devlin offers a villain of profound psychological intensity, relishing evil for its own sake.
Thrust against Stanley Browne’s successful yet gullible Othello, the conflict of trust and honour becomes a duel and the crucial Act 3 scene works like a duet where Iago sows suspicion in Othello’s captive mind. In this enthralling competition, the audience is lured into Iago’s conscience as if compliant with his world view.
The production has its difficulties; this Desdemona (always a thankless role) is giddily adolescent and one could throttle her quite readily oneself as the plot progresses, yet the portrayal is finally justified when she fights off her murderer with all the energy and fury of youth.
There is not enough of Emilia, but then there never is, and for an adapted version and despite their individual competence there is still too much Rodrigo and Bianca and, dare one suggest it, Cassio.
The vocal rhythms are measured, tilting at the ironies and, in Othello’s final speeches, conveying a piercing sadness. Diana Ellis’s design of itinerant frames shapes itself to embrace Iago, circling his paranoia as a gazebo moves towards the sun; her muted costuming (even the boots are distressed) with Sean Paul O’Rowe’s lighting conveying the uniformity of tone and approach which are so beautifully and accurately pitched.
It’s always possible to argue about Othello, but this production is an argument in itself. Brilliant is an adjective which springs to mind, but this is not a bright affair unless the illumination is likened to a miner’s lamp exploring a tunnel. But what a tunnel, and what a lamp director Lisa May’s steady hand shines on the play’s dark corners and uncertain flooring!
On tour until April 16th
