Othello. To 11 October.

Tour

OTHELLO
by William Shakespeare

Cheek by Jowl theatre company on tour
Runs 3 hrs 15 mins: One interval
Review: Jan Pick: 27 April at Warwick Arts Centre, Coventry (to 1 May 2004)

Weak links undermine otherwise powerful Othello.Within minutes it seemed clear this production was going to be modern and swift paced, with all the cast on stage, freezing while events took place around them, then moving into their roles as required, plunging the audience into the action straight away.

The sense of Othello's isolation, his otherness', in Venetian society is cleverly conveyed and the inconvenience of Brabantio's personal problems intruding into the urgent affairs of state is hammered home effectively.

Equally powerfully, at the end, the disassociation of the state' from Othello is shown as the representatives of Venice turn their backs to leave, washing their hands of the whole sordid business.

Nonso Anozie's Othello towers over Caroline Martin's pocket-sized, feisty Desdemona, emphasising her vulnerability and powerlessness, and there are strong supporting performances from the company, notably Jaye Griffiths as Emilia, and the hypnotic and snake-like Iago of Jonny Phillips, both of whom are fortunately skilled enough to surmount the cuts in text and demonstrate their relationship through body language and expression.

So far, so good, but this Othello does not scale the heights, partly due to director Declan Donellan falling into the trap of finding a charismatic and talented young black actor and loading him with unfair expectations.

Anozie is out of his depth in this role which requires more maturity and technical expertise than he can, at present, deliver. He demonstrates Othello's simplicity and jealousy beautifully, but lacks the experience and reach for this grand tragic hero - particularly at the end where he fails to show his regained dignity. And his evident youth removes one of the areas of uncertainty justifying his descent into jealousy, his fear that Desdemona would prefer a younger man.

The problem's compounded by Ryan Kiggall's Cassio, a man of such limp ineptitude that Othello's judgment comes into question from the moment Cassio appears. No general in their right mind would have put him in charge of anything - while the business of Bianca whipping Cassio with Desdemona's handkerchief is an interesting but ineffective idea.

On balance, the strengths of this Othello generally outweigh the weaknesses. While lacking the complexity and rhythms to transform it into a truly great production there is enough here to hold the attention and make a worthwhile evening.

Roderigo: Matthew Douglas
Iago: Jonny Phillips
Brabantio: David Hobbs
Othello: Nonso Anozie
Cassio: Ryan Kiggell
Duke of Venice: Michael Gardiner
Desdemona: Caroline Martin
Emilia: Jaye Griffiths
Bianca: Kirsty Besterman
Lodovico: Michael Gardiner
Gratiano: David Hobbs
Gentleman: Robin Pearce
Gentleman: Oliver Boot
Gentleman: Alex Kerr

Director: Declan Donnellan
Designer: Nick Ormerod
Movement: Jane Gibson
Lighting: Judith Greenwood
Music: Catherine Jayes
Voice coach: Patsy Rodenburg
Fight director: Terry King
Assistant director: Edward Dick

Othello co-produced by Cheek by Jowl and Théâtre du Nord (Théâtre National Lille Tourcoing Région Nord Pas-de-Calais and Lille 2004). In association with Odeon-Théâtre de l'Europe Paris.

2004-04-30 01:09:02