Holes and All, 'Othello' Is Still Thrilling

One of William Shakespeare’s best known, and for that reason, oft-produced plays, "Othello, The Moor of Venice," is at Shakespeare & Company — a stimulating production, replete with exciting performances.

Every high school student knows the story of Othello and his beloved Desdemona, both of whom are led to destruction by the sinister Iago. This tale of love, treachery and revenge has been the basis for Verdi’s opera "Otello" and several films, including the memorable 1947 production "A Double Life," which starred Ronald Colman and Shelley Winters.

The flexible playing area in Shakespeare & Company’s Founders’ Theatre has been reduced to emphasize the intense plot, the characters and the events surrounding their fate. There are relatively few set pieces and props, save several essential swords and knives. Yoshi Tanokura’s minimalist design and Les Dickert’s lighting moves the production seamlessly, maintaining focus on the actors.

It is difficult to criticize Shakespeare, but this script, as dynamic as it may be, is filled with major holes. Is the handkerchief that Othello gives Desdemona dramatic enough an event to trigger such a tragedy? How can Othello be so accepting of Iago’s lies and not speak frankly with Desdemona? Is Roderigo really such a dupe in Iago’s hands, and why does Emilia refrain from talk of the handkerchief until Desdemona’s death?

Critics claim that Othello’s tragic flaw is his jealousy. But is it not his gullibility, if not sheer stupidity?

The strength of the production is the cast, under the direction of Tony Simotes. John Douglas Thompson is an energetic and passionate Othello. The richness of his voice and erect physical carriage imbues the Moor with vigor until he succumbs to Iago’s insidious manipulations. The warrior then crumbles in the face of Desdemona’s alleged infidelity and the presumed betrayal by his best friend, Cassio. Thompson holds the stage with great strength, though he occasionally overacts in some of his vengeful tirades.

Iago is often seen as cold and menacing — a prototypical villain. Michael Hammond’s interpretation is lively, enjoying the destruction of those around him. Though not quite a "hale fellow, well-met" sort, Hammond is congenial, creating a more menacing character under his feigned loyalty to Othello, Desdemona, Cassio and his own wife, Emilia. This is Hammond at his best.

A newcomer to Shakespeare & Company, Merritt Janson, is an engaging Desdemona, a naïf victimized by great evil. The change from innocent love of Othello to fear of him evolves with subtle force. When she is onstage she creates a sweet glow that belies the tension surrounding her.

The other major characters, Cassio, played by LeRoy McClain, and Kristin Wold’s Emilia, ably contribute to the developing tragedy. Simotes’s staging is fluid, without any lagging moments and his stage pictures are concise and effective.

This "Othello" is engrossing.