BWW Reviews: OTHELLO Grapples With the Aftermath of War

Shakespeare may not have known the diagnosis Post Traumatic Stress Disorder in his time, but Director Tom Prewitt sees all the classic symptoms in Othello: fear, anxiety, isolation, insomnia, moodiness.

With this lens of PTSD, WSC Avant Bard's current production becomes an examination of civilian vs. military life, generational differences, differing life experiences and, at its core, the terrible ravages of war. Race, the central feature in so many interpretations of Othello, is almost incidental here. WSC Avant Bard's production of Othello is true to the company's mission of exploring classical texts in a modern and provocative way and in an intimate setting. The production's incorporation of surveillance video and smart phones remind us that Shakespeare is indeed timeless.

Chuck Young in the title role grounds the production with his authority and maturity. He is a military leader who inspires confidence. He is well-matched by Sara Barker's Desdemona. Her light and poise and assurance are captivating. Together, Young and Barker's partnership is a joy to watch in its heady early days, making the cruel unraveling of the relationship truly tragic.

There at the center is Iago with his destructive jealousy and hatred. Frank Britton weaves Iago's damage. Britton is especially strong in Iago's monologues where, though quiet, he commands the stage and can set his own deliberate pace and tone that draws us in.

It is the promotion of Michael Cassio to become Othello's trusted lieutenant that sets off Iago's ire. Sun King Davis is a charismatic and sensitive soldier as Cassio. We feel his pain, confusion, and disappointment, most notably with the heart-rending speech, "Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. " Davis masterfully controls the flow and beats of the text.

As Iago's wife Emilia, the woman who attends to Desdemona and becomes her confidante, Alyssa Sanders shows us an intelligent, wise, earthy, feisty woman who stands her ground against these men of muscle and rank. Sanders' scenes are very clear in their intent and among the most interesting to watch. In the latter scenes that pair Desdemona and Emilia, Barker and Sanders move forward with confidence and command, we are absolutely drawn to them.

Rodrigo, a suitor rejected by Desdemona, is a foil to Othello and offers some comedic relief, but here Jay Hardee is a bit too broad in his style to meld with the others.

As things spin out of control in the text in the latter scenes, the actors lose themselves in the moment when we would be better served by actors taking command to punctuate words and ideas and continue to tell the story. It feels as if everything "goes to eleven" and is ratcheted too high. There is great talent on stage and these actors should have the confidence to guide key moments.

WSC Avant Bard must do a lot with a little for production elements that place us in the military world. The set is a multi-level, flexible space with maps, emergency lights and battleship railings. While the two levels provide great movement and flexible entrances, it proves problematic. Many of the actors are too tall to be seen at key moments on the upper grid. Access from upper to lower levels is via ladders and involves ducking under a support beam - it impedes the flow of the action but more importantly it seems very dangerous and a visibly wobbly railing seems ready to send actors tumbling.

Sound, too, is awkward. At times the levels make the actors hard to hear, but sound choices are most distracting in the final scenes of the play with heavy, ominous chords preceding the action and the unfortunate cue of a cracking neck. The smart use of surveillance-style video to help move some of the scenes to other locales was undermined by a synching problem between film and sound - it had the effect of a poorly dubbed B movie.

With its interpretation of Othello's PTSD, WSC Avant Bard incorporates meaningful community partnership in the experience. To raise visibility of the realities of the trials in returning veterans' lives, the theatre company partners with The 296 Project to showcase the artwork of wounded warriors in art therapy.

The premise of Othello's PTSD is a smart, contemporary and intriguing interpretation of the 400-year-old story. Despite some challenges, WSC Avant Bard offers a refreshing new spin that helps us see Othello anew.

Runtime: 2 hours, 38 minutes (with one intermission)

Othello runs through March 1 with shows Thursday-Saturday evenings at7:30 pm; Saturday and Sunday matinees at 2 pm; Wednesday student matinees February 11 and 18 at 10:30 am; and an
industry night on February 23 at 7:30. The production is at Theatre on the Run at 3700 S. Four Mile Run Drive Arlington, VA 22206. For tickets, please visit the WSC Avant Bard website here.

Cast: Sara Barker (Desdemona ), Frank Britton (Iago), Sun King Davis (Cassio), Joshua Dick (Montano), Jay Hardee (Roderigo), Paul McLean (Duke/Lodovido), Alyssa Sanders (Emilia), Jennifer Osborn (Bianca, others), Manolo Santalla (Brabantio/Gratiano), Chuck Young (Othello).

Creative Team/Production Crew: Tom Prewitt (Director), Colin Dieck (Lighting Designer), Elizabeth S. Ennis (Costume Designer), Casey Kaleba (Fight Director), Kevin Laughon (Properties), Roc Lee (Composer), Jos. B. Muscumeci, Jr. (Set and Video Designer), Mehdi Raoufi (Sound Designer)

Photo credit: C. Stanley Photography. Top (from left): Sun King Davis (Cassius), Chuck Young (Othello), Frank Britton (Iago). Center: Sara Barker (Desdemona), Chuck Young (Othello). Bottom: Frank Britton (Iago).

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