Othello: quick links
A stripped-down Othello focuses the attention on the psychological drama being played out between the main characters. Melbourne Shakespeare Company’s new production edits Shakespeare’s play for content and reduces the play to five performers with some doubling. The decision pays off, with a fast moving and intense performance that reflects the play’s continuing relevance to modern audiences.
PTSD as potential source of damaged psyche
The play opens with a new silent scene of Othello (Christopher Kirby) and Iago (Dushan Philips) in a war setting. Iago commits a crime against a woman and Othello witnesses the aftermath. This creative reimagining reveals PTSD (Post-Traumatic Stress Disorder) as a potential source of the damaged psyche of the two main characters. Iago is subsequently overlooked for promotion for the bookish Cassio (Matthew Furlani). It’s this rejection that leads to him plotting the downfall of Othello.
The decision to cast Iago as a person of colour shifts some of the racial tension of the play to a more direct look at the relationship of two soldiers and their inability to come to terms with civilian life.
A shift in power dynamics
Philips’ performance is one that neatly balances the charismatic qualities of a smooth-talking villain with glimpses of the monster underneath. You want to like him despite the evil that he does. Tanya Gertle’s direction makes good use of the height difference between Kirby and Philips. Initially Othello towers above Iago, as a majestic, heroic figure. As Iago’s lies poisons his mind, Othello lowers himself physically to Iago’s level and then to below him, representing the shift in power dynamics.
Othello’s mental disintegration stems not just from his fatal flaw of sexual jealousy but through his glimpses of the ghost of the dead woman from the opening. Kirby convincingly takes us down the path of self-destruction in a way that both engenders sympathy and horror.
The narrower focus allows for the women to have more agency, even if they cannot avoid their fate. Emilia (Lucy Ansell) provides an impassioned plea against the horror of domestic violence. One that is unfortunately very relatable today, even though Shakespeare’s words are hundreds of years old. Desdemona (Tanya Schneider) is not as naive as she is in other portrayals. Schneider gives her a maturity while not losing the innocence that is central to her character. Desdemona’s observation of ‘how foolish are our minds’ is particularly relevant to the mental illness in this production.
The set is bare except for raised steps at the back. There are curtains along the back that become see- through to reveal events off stage, creating a voyeuristic feel. Music in the background by Jack Burmeister adds to the tension while the wail of air raid sirens trigger flashbacks for Othello and Iago. There is a physical focus in the interaction of the characters and the choice to have the performers go bare foot adds to the feeling of rawness of the drama.
Some plot elements feel rushed
One drawback of this pared-back version is that some of the plot elements feel rushed, such as Cassio’s fall from favour. The fast-paced first half of the show also results in the end feeling dragged out in relation to what has proceeded it. Otherwise, the production works well in narrowing the focus and not giving the audience room to breathe. Othello laments that he has little time to himself, and this staging means he is constantly under the pressure that eventually breaks him.
Read: Orlando review: a dazzling journey traversing time, place and identity at Belvoir
This production smartly shifts the focus of the play and successfully places it in a context that is relatable to a contemporary audience. The spectre of war and the ongoing problem of domestic violence are at the forefront of this staging. It’s accessible while also respecting the complexity of the source material.
Othello will be performed a fortyfivedownstairs, Melbourne until 28 September 2025.
