Review: OTHELLO Gets A Contemporary Treatment Proving Some Things Are Still As Topical 4 Centuries Later

Thursday 27th October 2016, 8pm, Playhouse, Sydney Opera House

Bell Shakespeare brings its tour of OTHELLO to Sydney, sharing Director Peter Evans interpretation of William Shakespeare's story of deception, jealousy, love, and betrayal. Presented as a contemporary work for a touring stage, this production seeks to bridge the gap between the 17th Century and the 21st Century.

The work that focuses on the effects of the vengeful acts of deception carried out by Ensign Iago (Yalin Ozucelik) against Othello (Ray Chong Nee) which seeks to destroy the Moorish General's happy world is presented on Set and Costume Designer Michael Hankin's sparse, dark green set dressed only with a cloth draped mobile bench and blinding lighting. Playing on the simple set, Hankin has clothed the military men in fatigues and combat boots with officers like Othello wearing more formal, structured uniforms. The non-military men range in style from the sophisticated Barbantio ( James Lugton) to the casual Roderigo ( Edmund Lembke-Hogan). The style of the women also goes some way to define their positions from Othello's bride Desdemona's ( Elizabeth Nabben) relaxed, preppy pants ensemble to Iago's wife Emilia's (Joanna Downing) nod to her husband's military position with her more structured shirtdress and Cassio's girlfriend Bianca's (Alice Keohavong) short, trendy sweater dress.

Carrying on the modern feel, lighting designer Paul Jackson has created a bold, sometimes blinding lighting. Combined with Steve Toulmin's composition and sound design, the lights and sound combine to present violent storms and ominous moments of murder. Nigel Poulton's fight scenes are brutal and convincing and emphasise the violence in the story.

As Othello, Ray Chong Nee has given the role a sensitivity and stillness which makes the contrast of his rage even more shocking. His Ensign Iago is presented by Yalin Ozucelik with an oiliness fitting the mastermind behind the trail of destruction he has set in motion. Desdemona's father, Venetian senator Brabantio is presented by James Lugton with a gravitas and grandeur fitting with his station in society.

Evans has opted to present this work in a more naturalistic voice for the most part, making the piece more accessible with an Australian accent. Most of the cast present a relatively normal speech pattern and tone with a natural expression and connection to the text with the women being the main exceptions as they waver in their presentation of the text.

This production of OTHELLO serves to force the audience to discuss domestic violence, love, jealousy, trust and betrayal. It is brutal and confronting in the awareness that people can be so calculating and vindictive. It is shocking in the revelation of Othello's dark, dangerous, jealous side, in contrast to his seemingly quiet nature. Evans has captured the roller coaster of emotions in this web of deceit and manipulation in an interesting interpretation of an iconic work.

OTHELLO

SYDNEY OPERA HOUSE, SYDNEY
Previews 25 - 26 October
Season 27 October - 4 December

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