A classic tragic hero like Othello always has a fatal flaw. A classic tragic production can have several. There are several things that degrade the Intiman production of "Othello," but two major ones are the portrayals of Iago and Desdemona.
When a Shakespearean production is exciting, the audience is swept away into the Bard's world. But the world that director Arin Arbus creates is more difficult to get lost in. She chose to reduce the play to its raw barebones-minimal sets, minimal costumes. In theory, this is an intriguing concept, especially for aficionados. With the right actors, it can be mesmerizing, because it distills to the heart of the tragedy.
But Arbus's production didn't work for this critic. It received raves in New York when it played Off-Broadway, but perhaps something happened on its way to Seattle's Intiman stage. It turned stiff, dull and lifeless--without color, like a drab gray world. Which only calls attention to its three-plus hours running time.
Don't blame Othello. Sean Patrick Thomas is a fine actor who has an excellent grasp of the Bard's iambic pentameter. His Othello has passion and conviction. Thomas has an intuitive understanding of the role. Had he been onstage with better supporting actors, he might have touched on greatness.
The action switches between 16th century Venice and the island of Cyprus. Othello is a noble man and a celebrated general. Iago is his ensign, passed over for a promotion. Instead, Cassio, a younger man, has been elevated to Othello's second in command. So a furious Iago plots revenge against both.
Othello trusts Iago. Iago despises Othello. Othello loves Desdemona, the innocent and aristocratic daughter of a Venetian family. The wealthy Venetian Roderigo also loves Desdemona. But Desdemona loves Othello. Othello is black; Desdemona is white. Othello marries Desdemona and gives her a handkerchief, a precious family heirloom. Iago's wife Emilia finds Desdemona's hanky and unwittingly hands it over to Iago, who plants it in Cassio's room. Iago provokes Othello's jealous rage. Iago dupes Roderigo and Cassio. Iago kills Roderigo and blames Cassio. All hell breaks loose. Othello smothers Desdemona. Othello kills himself and makes a noble speech with his dying breath.
Scheming Iago ranks as one of Shakespeare's greatest and complex villains. But for some reason, director Arbus chose to cast him as an older man-an "ancient" as they say onstage-instead of Shakespeare's recommended 20-something. For this critic, John Campion's portrayal of Iago was a cringe-worthy portrayal. He's supposed to betray Othello, but he betrays the production as well.
Often difficult to understand, Campion rattles off the Bard's verse, sometimes sounding like Vincent Price and other times like a sleazy broadcaster at a horse track. He's creepy and comedic rather than sly and smooth. His villainy is more suited to a Batman episode.
The willowy Elizabeth Waterston as Desdemona is taller than Othello, and those few inches diminish and distract from the power of a great general. Also, Waterston's small, high-pitched voice borders on whiney. She seems to walk through her role. Desdemona is supposed to be sweet and innocent-not milquetoast. So in the end, there's little to spark Othello's great passion for her, or hers for him. Their lack of sexual chemistry turns into a tragedy within a tragedy.
As Iago's wife and Desdemona's attendant, Emilia, Kate Forbes conveys her character with believability, from her misguided loyalty and deceit to her eventual confession of the truth. The voluptuous and lively Elizabeth Meadow Rouse takes trollop-dom to new heights as the feisty strumpet Bianca. By the time she flounces onstage, we're hungry for a bit of spunk. And Rouse delivers it with panache. Dressed in fluffy peach chiffon, she's a round, ripe fruit eager for the plucking.
Lucas Hall may be dashing and flirtatious as the aspiring soldier Cassio, but he comes off more like a frat-boy than a leader-in-the-making. While Robert Landon Lloyd brings dignity to the Duke of Venice, Denis Bukus convinces as gullible Roderigo.
Supposedly, the stripped-down, minimal set was to intensify the Bard's work. But in this case it does not. The distressed raised wood floor is matted and dull. So much so, that the dingy wooden terrain soaks up Desdemona's beautiful, ivory-colored silk gown.
There are a few stage-worthy moments in this "Othello." The revelry of the drinking scene comes to mind. But overall, the show is boring and tedious.
When Desdemona finally meets her pillow fate, this critic was aching for it. Part of her wanted to award Othello a posthumous medal just for ending the play. Indeed, he has "done some service" for us all.
"Othello" runs Tuesday to Sunday through Aug. 9 at Intiman Theatre, tickets $10-$55, 206-269-1900.
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