The original full-length play Othello (1603) by William Shakespeare (1564-1616) centres round the secret marriage of Othello and Desdemona, with political, military, romantic and sexual jealousy and intrigues between a dozen or so characters - Lodovico, Emilia, Montano, Bianca, Brabantio, Duke of Venice, Iago, Roderigo, Cassio, Othello, Desdemona, and others - and with racial overtones (in William Shakespeare's original, Othello is black, the rest are white). There's also murder. It's set around Venice and Cyprus, with the Turkish fleet offshore (plot summary http://en.wikipedia.org/wiki/Othello).

Carpe Diem Theatre's production of Othello by William Shakespeare (1564-1616) is a powerful tale of deception, jealousy and the beastly nature these can arouse. This version is set in the wicked world of business, in Britain under the 1979-1990 rule of Prime Minister Margaret Thatcher. Director Nicholas Kempsey manages to bring the play smoothly into the period, just as William Shakespeare brought the original Italian story by Cinthio (Giovanni Battista Giraldi 1504-1573) into his own Elizabethan age and country.

William Shakespeare's full-version Othello centres round the secret marriage of Othello and Desdemona, with political, military, romantic and sexual jealousy and intrigues between a dozen or so characters - Lodovico, Emilia, Montano, Bianca, Brabantio, Duke of Venice, Iago, Roderigo, Cassio, Othello, Desdemona, and others - and with racial overtones (in William Shakespeare's original, Othello is black, the rest are white). There's also murder. It's set around Venice and Cyprus, with the Turkish fleet offshore (plot summary http://en.wikipedia.org/wiki/Othello).

In tonight's version, the original text is severely cut to serve the new setting, erasing the hefty reference to military circumstance and allowing the piece to sit comfortably in the world of commerce. The exception is at the moments of extreme violence, where it seems unfeasible to imagine such openly brutal happenings in an office.

The scenic design is simple but meaningful, such as the black-and-white striped floor and the backdrop of news footage from the Brixton (a London suburb) riots. Music is invigorating and wonderfully atmospheric, catapulting back to the 1980s.

Performances are uniformly energetic, engaging and full. Chris Rochester plays Othello with a physical and emotional integrity, which truly identifies with the classic ideal of the Moor. James Tweedy's Iago counterbalances Othello's passionate nature with nice-but-nasty coolness. The moment when Iago bites his wife to obtain a fateful hankerchief points particularly to his true ferocity.

Charlotte Flintham plays Desdemona with a comforting candid joviality. Her Desdemona comes across as worthy of Othello's love, but lacks the emotional intensity expected when realising that her husband's affection has turned so severely sour. Emily White is powerful as Emilia. She gives epic layers of fervour and acuity in her performance which are a joy to behold. Kitty Chapman plays Bianca with a strong, stunning physicality and a vivacious delivery, making a great deal of a small part.

This production of Othello works incredibly well in performance, due to a strong cast and robust, clear choices made by director Nicholas Kempsey. These draw apt parallels between Shakespeare's and recent times, posing the question - how much has actually changed?

Cast Credits: (incomplete, include, alpha order): Kitty Chapman - Bianca Charlotte Flintham - Desdemona. Chris Rochester - Othello. David Shackleton - Brabantio / Montano. James Tweedy - Iago. Emily White - Emilia.

Company Credits: (incomplete, include): Writer - William Shakespeare (1564-1616). Director - Nicholas Kempsey. Company - Carpe Diem Theatre Company.

END

(c) Tracy Keeling 2009

reviewed August 09 / The Rose Theatre, Bankside, London UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com