OTHELLO To 30 May.

Oxford.

OTHELLO
by William Shakespeare.

New Road Baptist Church Bonn Square Oxford OX1 1LQ To 30 May 2009.
Mon-Sat 7.30pm Mat 9, 16, 30 May 2.30pm & 6, 21 May 12pm.
no performance 4 May.
Runs 3hr One interval.

TICKETS: 01865 766266.
www.creationtheatre.co.uk
Review: Timothy Ramsden 2 May.

Quick-moving and with far-from perfunctory deaths.
Following Creation Theatre’s summer season last year a mature, intelligent person told me they’d enjoyed the company’s Midsummer Night’s Dream, mentioning this was the first time they’d seen the play. During the interval of this Othello an audience member told their companion they didn’t know how the story would end.

So clarity is vital for audience members in the early stages of exploring the bardic canon, and maybe not having English as a first language. This doesn’t mean deadly weighing-down by cod-historic surfaces. Creation Shakespeare (the core, if not total, of their programme) is rapid, light and played in minimal settings as an artistic, as well as economic, imperative.

As with Charlotte Conquest’s (indoors) Othello, at a Baptist chapel tucked across the road where a shopping-street meets a shopping-centre. Perched on a high stage presumably dictated by the building’s architecture, there’s just enough set to suggest an office or supply a bedroom, while costumes imply the 1940s – an era of war, and one where women could still credibly be seen uncomplaining about male rule.

There’s unrefined verse-handling at times, and with a small cast it’s unfair to ask even Creation regular Caroline Devlin to transform from watchful Emilia into rent-a-whore Bianca – though a point’s neatly made when Devlin, as an aide, appears among the Venetian rulers, only to have her role confined to answering the ‘phone and passing on messages.

But, doubtless helped by Richard Ryder’s textual input, there’s always sense to the performances, with the line of meaning clear. It makes evident that Richard Kidd’s Iago is less motiveless than many. Passed-over for promotion, his burning fury’s apparent, his look intensely mean when no-one’s looking. At the end, surrounded by others, it looks as if he’ll be prevented from attacking his wife. Then people’s attention swings and he lunges.

Victor Power’s a strong Othello, able to command but someone who doesn’t do ambiguity. He would demand Iago bring him proof, and wouldn’t question evidence that seems to fit. Ffion Jolly’s innocent Desdemona probably thinks singing at the mike with Emilia is daring, making her prolonged death-agony the more shocking.

Emilia/Bianca/Aide: Caroline Devlin.
Desdemona: Ffion Jolly.
Duke/Montano: Gwynfor jones.
Iago: Richard Kidd.
Roderigo: Rhys King.
Cassio: Richard Neale.
Othello: Victor Power.
Brabantio/Lodovico/Officer: James Sobol Kelly.

Director: Charlotte Conquest.
Designer: Nancy Surman.
Lighting: Ashley Bale.
Sound: Matt Eaton.
Movement: Aidan Treays.
Voice/Verse coach: Richard Ryder.
Fight director: Jonathan Waller.

2009-05-03 12:24:28