OTHELLO. To 23 February.
London.
OTHELLO
by William Shakespeare.
Donmar Warehouse To 23 February 2008.
Mon-Sat 7.30pm Mat Thu & Sat 2.30pm.
Audio-described 26 Jan 2.30pm (+Touch Tour 1.30pm).
BSL Signed 10 Jan 7.30pm.
Captioned 31 Jan 7.30pm.
Runs 3hr 15min One interval.
TICKETS: 0870 060 6624.
www.donmarwarehouse.com
Review: Timothy Ramsden 8 December.
A fine Othello, and a fine Othello.
Othello’s suited to the Donmar’s intimacy. In place of the kings, princes and emperors who fill the titles of other Shakespeare tragedies, Othello’s a mere general. And his occupation’s never seen directly in action; war with the Turks is set-up then dismissed without stratagem or combat, an excuse to isolate Othello’s retinue away from home.
Chiwetel Ejiofor’s Othello has the certainty and control of someone with exceptional qualities, upright, bearded and whiskered, his deep voice confident in its African intonations. No modern player has so vividly recalled prints of heroic 18th and 19th century actors in the role.
His innocence keeps him confident until it proves his downfall. This general is ready for open confrontation but unprepared for Iago’s fifth-column action. And no-one with his easy authority and the evident affection of Kelly Reilly’s luminous, innocently sexy Desdemona would suspect trouble. His anger is as resolute, and absolute, as might be expected from this Othello’s nature.
Ewan McGregor’s Iago is human, rather than a relentless demon. But his hurt is evident in an opening where he picks out the battles where he performed good service; each still rankling. His often-mentioned honesty doesn’t arise from great shows of sincerity; it’s a dismissive assumption about a little-considered person.
His repeated reference to hating “the Moor” is simply a fact he mentions to gain Roderigo’s trust. Edward Bennett’s boyishly eager Roderigo is comically sympathetic, his duping and death an outrage upon innocence.
Tom Hiddleston’s Cassio lacks the sense of authority to make him even an emergency governor, but there are fine performances from James Laurenson as two ruffled seniors, Michael Jenn and that excellent verse-speaker Michael Hadley.
Michael Grandage’s production makes time fly, the detail in production and performances making compulsive watching. Everything’s freshly thought-out; so, Desdemona’s Willow Song becomes a subdued attempt to accommodate her sadness rather than a concert set-piece.
Christopher Oram’s simple-seeming set and Paule Constable’s watery lighting, its dark areas and mist concealing Iago’s schemings, evoke Venice and island Cyprus, moments of golden contrast leaking through magnificent, grilled doors or shining in the temporary security of Othello’s soon-to-be-disrupted household.
Roderigo: Edward Bennett.
Iago: Ewan McGregor.
Brabantio/Gratiano: James Laurenson.
Othello: Chiwetel Ejiofor.
Cassio: Tom Hiddleston
1st Officer/1st Cyprus Gentleman: Alastair Sims.
1st Senator/2nd Cyprus Gentleman: David Mara.
Duke of Venice/Lodovico: Michael Hadley.
Desdemona: Kelly Reilly.
Montano: Michael Jenn.
Emilia: Michelle Fairley.
Bianca: Martina Laird.
Director: Michael Grandage.
Designer: Christopher Oram.
Lighting: Paule Constable.
Sound/Composer: Adam Cork.
Fight director: Terry King.
Assistant director: Alex Sims.
2007-12-12 00:22:28