GREEN-EYED MONSTER WREAKS HAVOC
How many times have all of us shook our heads in disbelief at a news report about an enraged husband who kills his wife because she is suspected of an attraction to another? Certainly, jealousy can twist a mind leading to horrific consequences. It is this precise development which defines the core of William Shakespeare’s OTHELLO, the MOOR of VENICE now onstage at A NOISE WITHIN Theatre in Pasadena, playing in repertory with THE GLASS MENAGERIE and later, ARGONAUTICA, thru the end of April.
In this case the fuse is lit when a friend, “Iago”(Michael Manuel) is passed over for military promotion by the commander “Othello”(Wayne T. Carr). As the scorned victim obsessed by the affront, Iago decides to hatch a plan to achieve revenge on Othello; it involves deceit, betrayal and murder even in the early Seventeenth Century when the play was written. Notably, these same elements emerge today as the tragedy plays out over and over again throughout our distressed world. It may not be Venice or Cyprus, the settings of this play, but instead may rear its head in Philadelphia, Dublin or New Delhi.
Appropriately, director Jessica Kubzansky chooses to explore the villainy inherent in the plot and often places it prominently, usually down center at the edge of the apron on this thrust stage. At the A NOISE WITHIN theatre, the audience is able to feel the
reverberations of the drama as it unfolds because of the theatre’s intimacy. In OTHELLO it simmers, it sickens, it alienates and it explodes largely because of the fine performance of Mr. Manuel. Supporting this character’s malevolence, actors often make entrances and exits through the aisles of the raked seating areas and occasionally even encircle the audience from above. Those goings-on stoke the fires of that dark intrigue successfully with an accomplished ensemble telegraphing urgency and purpose at every turn.
The title character’s performance also delivers as the heroic, revered battlefield leader who has moved the Venice elite to recognize his zeal and his dedication to the goals of the nation-state. Admittedly, the mantle of Mr. Carr’s earned status within the Venetian establishment seems a bit muted in the early stages of the play, but gradually evolves into a full embrace of the role’s potential. Ultimately, the actor unsettles all of us in the climactic moments of the play as he explores the character’s conflicted range of emotions.
Leading the ladies’ contingent onstage is the “Desdemona” of Angela Gulner. She creates a strong character, both devoted to her husband Othello and confident in her ability to calm troubled waters whenever they arise. Her maidservant “Emilia” (Tania Verafield), joined in wedlock to Iago, paints a stirring portrait of a lady committed to high ideals who is loyal to Desdemona without question. When she finds herself duped by her husband, she follows the virtuous path with resolve and disavows the treachery at hand despite her bond of matrimony.
Additionally, Ms. Kubzansky’s direction, assisted by Margaret Shigeko Starbuck, explores gender roles more expansively in her casting of the production as well. Her choice to cast female actors in two key featured roles is wholly laudatory with the “Duke of Venice” (Sally Hughes) and “Brabantio” (Bonita Friedericy), both fully inhabiting their assigned roles with no noticeable detriment to the realization of the play’s intent. In fact, in a 21st Century context, audiences are free to celebrate the fact that women can display strength, disdain and anger without consideration of societal restraint. (Sure, all recognize that the “Duke of Venice” by title alone as well as the father of “Desdemona”, the
prejudiced, stubborn “Brabantio”, normally would be portrayed by men; nevertheless, though, it proves to be unimportant in execution when assessed in terms of commonly accepted male expectations.
The director makes another consequential choice in her interpretation by deciding to alter the setting to the present day. Surprisingly, the change works exceedingly well in allowing consideration of issues pertinent to the machinations that undeniably fester today in our political arena.
And now a word about the fool in the play – the character of “Roderigo” (Jeremy Rabb). The man tickles the funny bone with his hapless, goofy characterization as he executes the schemes of his manipulator Iago. This actor commands our attention whenever he steps foot on this stage, no matter the play.
The remainder of the ensemble also impress including Brian Henderson (honorably fulfilling his duties as Othello’s newly appointed Lieutenant), Sally Hughes (doubling as “Bianca”, the mistress of Cassio in Cyprus), Myra Cris Ocenar as “Lodovica” (a third example of gender change that rocks the boat), Nic Arnzen as “Gratiano” ( Brabantio’s 
brother who handles duties as Venetian government representative) and finally Adrian Gonzalez as “Montano” (reliably holding down the fort in Cyprus). Rounding out the exceptional cast are these talented actors: Harrison Harvey, Dylan Wittrock and Dylan La Rocque.
As always, the other creative elements of the production succeed mightily. Aiding the director’s vision are Frederica Nascimento (Scenic Design), Angela Balogh Calin (Costume Design), Rose Malone (Lighting Design) and John Zalewski (Sound Design). A deserved shout out as well goes to the Fight Choreography of Kenneth R. Merckx, Jr. (it is a Shakespeare tragedy, after all).
A treasured handkerchief plays out as a key impetus for the title character’s actions in OTHELLO . In a contemporary vein, just as a political strategy to help a candidate remember his speech’s focus on immigration (the “wall”) results in a key motivator on the current President’s trek to the White House. In both cases a tiny little thing results in major consequences for all involved.
See why A NOISE WITHIN serves as a shining beacon for classical theatre in greater Los Angeles. OTHELLO remains ready to take a bow for you until April 28.
pc: Daniel Reichart
