Review: OTHELLO at Classical Theatre Company
Jealousy, Manipulation, and Modern Parallels: OTHELLO Lands with Purpose at the DeLuxe
Widely considered one of Shakespeare’s greatest works, and typically ranked alongside tragedies like Macbeth and Hamlet, OTHELLO explores themes of jealousy, racism, and the destructive nature of unchecked emotion. The play follows its title character, a Moorish general in the Venetian army, as he is manipulated by his ensign, Iago, into believing that his wife, Desdemona, has been unfaithful with his own lieutenant. Fueled by Iago’s lies, OTHELLO spirals into a jealous and deadly rage.
This was my first time seeing a Classical Theatre Company (CTC) production, and I was impressed. Committing to works that are over 100 years old is no small task. Updating and staging them in a modern context is even trickier. J.J. Johnston’s production of OTHELLO lands as a well-executed, pointed reflection of today’s political landscape, where the stage becomes a mirror for xenophobia, militant fascism, and authoritarianism.
Brandon Carter plays the titular role brilliantly, demonstrating a clear command of Shakespeare’s rhythm and language, unsurprising given his experience with the Bard. Carter navigates Othello’s arc well, mastering the transition from a poised leader to a tormented and broken man. Focusing authentically on emotional depth and seeming not to care about the prejudice he faces, Carter keeps his energy high throughout his performance, and embraces vulnerability as his world crumbles under the weight of Iago’s manipulations.
Matthew Keenan’s Iago is both charming and insidious. For reasons I can’t quite explain, his Irish accent really works to enhance both the “honest” façade and the duplicity beneath it. Keenan brings strong physicality to the role, particularly in his soliloquies, and he skillfully pulls the audience into complicity. The role of Iago requires a puppeteer who can convincingly wear the mask of “honesty” while planting seeds of destruction, and Keenan delivers, especially as he plainly reveals his hatred for Othello within the opening moments.
Cat Thomas gives a steady, grounded performance as Desdemona, maintaining her (true and actual) innocence throughout. She strikes a careful balance: blameless and sincere, yet lightly flirtatious in her efforts to reassure Cassio and advocate for his reinstatement. That tension between resilience and tragic innocence anchors her performance effectively.
Christian Tannous brings an endearing quality to Cassio, despite the character’s contradictions. He shifts convincingly from jovial camaraderie to fiery defensiveness after losing his rank, while also embodying the double standard in his treatment of Desdemona and Bianca. Tannous handles these shifts with compelling nuance. Another standout is Olivia Knight as Emilia. Her chemistry with Thomas is strong, and she serves as an effective foil until her turn delivers a deeply felt and necessary emotional reckoning. The ensemble, many of whom take on multiple roles, perform admirably. Across the board, there is a clear understanding of both the text and the physicality required to communicate Shakespeare’s language to a modern audience.
From a production standpoint, the design elements are cohesive and supportive. Jodi Bobrovsky’s set and props are versatile while establishing a clear sense of place. Edgar Guajardo’s lighting is dynamic, effectively shifting tone and focus across scenes and characters. Jonathan Harvey’s sound design, though occasionally faint, underscores the action well. Costume Designer Krystal Uchem makes strong, deliberate choice, particularly in linking Othello and his men through coordinated color. I did find myself curious about the intention behind Desdemona’s wardrobe, which reads as intentionally distinct, perhaps to further isolate her within the world of the play?
This sharply relevant take on a classic text is well executed and worth a visit to the warm and historic DeLuxe Theatre (a Fifth Ward landmark), where its welcoming atmosphere, and deep cultural roots give the production an added sense of place, rounding out an evening where past and present meaningfully collide.
OTHELLO runs through Saturday, May 2nd at the Classical Theatre Company, located in The DeLuxe Theatre (3303 Lyons Ave.). Performances are Thursday through Saturday evenings at 7:30pm, with matinees on Saturday and Sunday at 2:30pm. The typical five acts have been compressed into two, and the show is about 3 hours long with one 15-minute intermission. More information on the theater and the production can be found here.
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