stage matters / By William Kowinski

‘Othello’ in Arcata

(Nov. 15, 2007)  When Venice was a great power, its most trusted military leader was Othello, a Moor. In secret, Othello wooed the daughter of a Venetian noble, Brabantio, and as the play opens their secret marriage is about to be revealed. I ago, a trusted officer who may or may not be seriously aggrieved at being passed over as Othello’s second-in-command, and who may or may not really believe that Othello seduced his wife, is certainly out to get Othello from the play’s first beat.

When I ago’s first attempt — turning Brabantio against Othello — isn’t enough, he devises a plan to convince Othello that his new wife, Desdemona, has been unfaithful with Michael Cassio, who conveniently is the officer who got the job as Othello’s lieutenant that I ago covets. It works, all too well.

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What is I ago’s problem? Why is Othello so easily convinced and moved to violence? Some of the most famous productions in Shakespearian history have tried to address these and other vexing questions in a play that continues to fascinate audiences.

The production of Shakespeare’s Othello, Moor of Venice by Shake the Bard Theatre Company currently at the Arcata Playhouse makes good use of this intimate space to focus on the dynamics of the play itself. A traditional but minimal set (conceived, designed and created by David Hamilton, Jack Freeman and Sam Neuwirth, respectively) is complemented by Pat Hamilton’s handsome and evocative costumes and Gabe Groom’s suggestive sound design. Director David Hamilton has employed some cunning stagecraft to keep the action on track and to focus particular moments. The result is a clear and creditable production, with solid performances, including a brilliant, thrilling one — and a virtual clinic on acting Shakespeare — by Jabari Morgan as Othello.

Morgan’s interpretation is well-considered and creative, and its skillful expression rivets your attention. From his first entrance and his first calmly, warmly resonating words, his Othello is every inch a general, until this shock unhinges him, and he struggles against a kind of madness. Morgan’s masterful physical (including vocal) effects in the second half of the play are dazzling, but I was just as impressed by his precision in the first half, when he is alive to every moment. Too many actors, especially in Shakespeare, feel the need to indicate with gestures the meaning of the words. Jabari Morgan acts the words, and every actor should watch his performance to see the difference.

I ago presents his “honest” face to others, but exposes his malevolent intentions to us in soliloquies that poet and critic W. H. Auden thought should be played “slightly mad and with terrific gaiety,” which aptly describes how a cavorting A.J. Stewart performed them. He was most disconcerting and effective playing the calm and solicitous public I ago, and his creepy grin in the final scene chillingly illuminated both sides of the character. He also matched Morgan’s power in some key scenes together.

Erik “Rez” Peterson is efficient in the mostly functional role of Cassio, a self-consciously upright aristocrat with a weakness for snobbery and wine. Rich Chase plays the pawn Roderigo with a trusting dimness that makes him I ago’s effective tool, yet with the sense of wrong that leads to I ago’s undoing. Abe Green has one of the better voices, and as a younger than usual Brabantio, he can stand toe to toe confronting Othello. Darcy Daughtry has a small but winning role as the reputed strumpet, Bianca.

Jennifer Trustem is a fiery Emilia, I ago’s wife as well as Desdemona’s lady-in-waiting and staunchest defender. As Desdemona, Jay Shepherd emphasizes her naivet√©, and together she and Trustem create a very effective (at least when audible) scene on what would soon be Desdemona’s deathbed, employing dialog that has Shakespeare sounding like an Elizabethan feminist, with the gender equivalent of his more famous “has not a Jew eyes?” aria in The Merchant of Venice.

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