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Wearin’ its ‘eart on t’sleeve
Shakespeare’s Othello
Birmingham Rep
**** DELIVERING the works of Shakespeare in a
contemporary setting is nothing new to modern audiences and so it
becomes a bit of a challenge for any production like Frantic Assembly's
Othello to avoid resorting to the usual gimmicks and devices. Set in a convincingly grimy Yorkshire pub, this
version of Othello pulls no punches either in content or in its
faithfulness to the original text. Apart from an occasional "All right lads?" thrown
in for comic effect, the 'Thou's' and 'thee's are very much in place and
director Scott Graham has managed to transplant and merge these
dimensions without sacrificing cohesion or relevance. Slick, narrative choreographic sequences drive
some of the more powerful moments of the evening and the cast are as
impressive here as they are with the verbal challenges that Shakespeare
with a Yorkshire accent presents. Each character is cleverly profiled in an
introductory 'dance' scene. A dirtier West Side Story comes to
mind, but any comparison is quickly chased awa Surrounded by 'Chavs' and 'Townies', Othello here
is different. While his mates wear track suits and drag Shakespeare into
the depths of linguistic depravity, Othello is more well-spoken and
presented.
Mark Ebulue, a former kick-boxer, cuts an
impressive physical form as Othello but comes across more of a fool and
pushover than a man being eaten away by paranoia, jealousy and rage.
We miss the escalation of his demons as they
consume him. The climactic murder scenes potency is rescued by the
ingenious choreographic decision to have Desdemona die at Othello's
hands while suspended above him as he lies on his back. As she dies, he
slowly lowers her body onto his. As her life fades we see the horror and
remorse fill him. This is Ebulue's and Scott Graham's finest moment. Leading the way for much of the action is Steven
Miller's serpent-like portrayal of Iago, Othello's right hand man.
Dangerous, cunning, Machiavellian to the extreme, Miller is riveting
throughout and his performance nightmare inducing. I took much pleasure
in watching him while not involved in the principal action, snaking
around the set, adding sinister titbits of detail here and there. Laura Hopkins' set design seems simple enough at
the start before taking on a life of its own. The walls of the pub twist
and transform to great effect, particularly in a drunken scene involving
Cassio, played by Ryan Fletcher. As Othello resolves to kill Desdemona, the walls
close in around him and then release again after her death. The set
became so actively involved that by the end I felt as if it were a
character unto itself. On this night the audience was filled with
teenage students who sat enthralled through the 1 hr 40 minutes,
standing for an excited ovation at the conclusion. Overhearing some of
their positive comments afterwards it's clear that Frantic Assembly has
been successful in striking a chord with younger audiences. Perhaps it's a sign of my own age that I found
the music being played before the start a touch too loud. The kids
didn't seem to mind! A great introduction to Shakespeare for the young
and more than a worthwhile experience for those with a greater knowledge
of the play. To 15-11-14. Dominic Antonucci
12-11-14
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by the less than subtle innuendo and general debauchery on display.
Violent from the start but hardly gratuitous, the action and plot pull
us along at a rapid pace without ever feeling rushed.