May 16, 2006
When I first heard about this production, I was taken aback to discover that it was to be played by an all-white cast. I was pretty certain that no attempt at ‘blacking-up’ was going to take place – but I was doubtful as to the artistic reasons behind such a choice. A sense of ‘otherness’ is essential for any successful portrayal of the Moor of Venice. He has to stand apart from the rest of the characters in so many ways. To present him as ‘one of them’ seems to be missing a central theme clearly intended by Shakespeare.
Director Katherine Ross has clearly spent much time with her cast in creating a strong series of performances. The cast do, on the whole, seem to be at home with the idiom. The costuming is simple yet entirely appropriate. The use of space in the theatre is good. The lighting is excellent.
But at the heart of the production there is a flaw – the conceit of having a white Othello does not work. Henry Oliver is a strong young actor. He is, sadly, not an Othello. He is too refined, too English. He can speak the text well and in other roles would will many plaudits. Here, I fear, he was miscast. At no time did I feel as if he were capable of enormous rage and murder.
The main character of Othello is not the Moor himself but rather his ‘ancient’ Iago. Ben Hunt gives an interesting performance. He is clearly working to bring out the black humour of the role. He employs a number of nervous tics and physical traits to show the inner demons at work within. However he again seems miscast. He is a talented actor – of that I have little doubt – but he would appear better suited to roles such as Feste in Twelfth Night or Launce in The Two Gentlemen of Verona. He does have a flair for comedy that was, perhaps, not best employed in a role where more of a character actor is needed.
I do not wish to appear too negative in this review. It is a good piece of student theatre. There are some good performances: Corinne Sawers is as near ideal a Desdemona as one could wish for – her scenes with Emilia (Amy Tatton-Brown) were, perhaps, the best of the evening. Sean Passey made a huge impression as Barbantio – it was a shame that his character made such a brief appearance at the start of the play.
It is an ambitious production filled with much talent. You should judge for yourself whether you believe the central conceit works for you. Regretfully, it failed for me.
Director Katherine Ross has clearly spent much time with her cast in creating a strong series of performances. The cast do, on the whole, seem to be at home with the idiom. The costuming is simple yet entirely appropriate. The use of space in the theatre is good. The lighting is excellent.
But at the heart of the production there is a flaw – the conceit of having a white Othello does not work. Henry Oliver is a strong young actor. He is, sadly, not an Othello. He is too refined, too English. He can speak the text well and in other roles would will many plaudits. Here, I fear, he was miscast. At no time did I feel as if he were capable of enormous rage and murder.
The main character of Othello is not the Moor himself but rather his ‘ancient’ Iago. Ben Hunt gives an interesting performance. He is clearly working to bring out the black humour of the role. He employs a number of nervous tics and physical traits to show the inner demons at work within. However he again seems miscast. He is a talented actor – of that I have little doubt – but he would appear better suited to roles such as Feste in Twelfth Night or Launce in The Two Gentlemen of Verona. He does have a flair for comedy that was, perhaps, not best employed in a role where more of a character actor is needed.
I do not wish to appear too negative in this review. It is a good piece of student theatre. There are some good performances: Corinne Sawers is as near ideal a Desdemona as one could wish for – her scenes with Emilia (Amy Tatton-Brown) were, perhaps, the best of the evening. Sean Passey made a huge impression as Barbantio – it was a shame that his character made such a brief appearance at the start of the play.
It is an ambitious production filled with much talent. You should judge for yourself whether you believe the central conceit works for you. Regretfully, it failed for me.