Watching the Public Theatre’s production of Othello reminded me of seeing a large art installation in a Chelsea gallery. As I’ve walked round and round various modern configurations that scream an inaudible MESSAGE, I often find myself admiring the artist’s complete and utter self absorption. “Audience be damned” screams the installation, or in this case Peter Sellars, in his direction of Othello. This Othello at the uncomfortable and antiseptic NYU Skirball Center is more of a derivative of Shakespeare’s play, than the play itself. It is recognizable as Othello, but unlike a riveting deconstructionist production, it adds nothing, only takes away from the original. The enormous auditorium stage is stripped completely, exposing the garage door used for load-in, fuse boxes and flies. The entire set consists of chairs (sometimes used for “off-stage” actors, and sometimes not,) two standing microphones and 45 video monitors that seem to serve no purpose whatsoever. Although in case you missed Mr. Sellars’ point, they too are deconstructed. The conceit of the bare stage can work, but it doesn’t here. The space is large and the performances are not. Let us start with the very first word uttered on stage. My spine stiffened and I quickly scanned the audience for signs of communal disbelief. Shakespeare miked? Philip Seymour Hoffman miked? No, no this can’t be. It must be a device, wait and its intent will unfold. There was no intent. It is a large space and for reasons that will remain a puzzlement to us all, Mr. Sellars miked his actors. There is simply no possible way to enjoy the language and live delivery of Shakespeare via a microphone. After that first line, I decided that this was not to be seen as theatre, but as an art installation. As such, this production is not uninteresting, if for no other reason than for seeing the pageantry of unharnessed narcissism. The casting was of particular interest. I am exaggerating, but it seemed that Othello was the only non-African American actor on that stage. I’m all for adventures in color blind casting, but this just does not work. What’s next? An all white Color Purple? Surrounding Othello with people of color, and casting him with a Latino actor, is a great conceit for good dinner party conversation, and should not go beyond that. John Ortiz is Othello, and handles it as well as Mr. Sellars allows. (Sellars’ heavy hand print is on every performance.) Philip Seymour Hoffman as Iago is bipolar and has body issues. Mr. Hoffman spends half of his stage time being placid and the other half; enraged. He is continuously pulling on his sweater, that does fit rather snuggly over his belly (stress eating during nightmarish rehearsals, no doubt.) Mr. Hoffman is a phenomenal talent, we all know that, but none of it was evident here. During his low moments he was clearly recognizable as himself versus Iago. and enraged, he just seemed silly. Where exactly was the rage coming from? The only standout, who seemed to transcend Mr. Sellars’ “no do it like this” direction was Desdemona, (Jessica Chastain.) While she was put through the same absurd paces as her fellow actors, her clear true voice rang out.
The paces that the actors endured included confrontations by cell phone and blackberry, meshing of multiple characters into one, gender switches, a rape scene substituting for a duel, and zero affection between any of the characters. Othello and Desdemonda spent a great deal of time on the video consoles simulating what can only be called “sleep hugging,” giving no indication of any passion but merely conveying exhaustion (perhaps another remnant of the stressful rehearsal period?) There was absolutely nothing between Iago and Othello, which left so many actions baffling and void of any drama. There was no raucous tavern scene, merely a couple of guys drinking beer and no action to speak of, short of the rape (which was horrifying on several levels.)
Adding to the art installation phenomenon was the lighting of this production. Welcome to Othello: The Light Show. The lighting cues were so prominent and misguided that I became convinced they were done by a recent “lighting major” graduate. “Look what I learned!” But alas, I was so wrong. The lighting is by James F Ingalls, a veteran designer. Bizarre video monitors showing basically nothing aside, the constant; full lights, square spots, full lights, filtered lights, staccato was just unnerving. What in the world was the point? I suspect that the point was personal. Audience be damned! If the audience be damned,.than it really isn’t theatre. This production at best would make for an interesting lesson for acting students (taught by a self absorbed autocrat) but at its worst it is a personal indulgence and should be treated as such. As a rule many private behaviors should be done behind closed doors.
Tag Archives: Review
Othello: Public Theatre – Review
Joe Turner’s Come and Gone – Review
On the heels of the 2008 Tony Awards, I bring you a review of a play devoid of pop composers, celebrity casting and green monsters. I saw August Wilson’s Joe Turner’s Come and Gone this weekend (missing the President and Mrs. Obama by a scant week) at the Belasco Theatre. This Lincoln Center Theatre production (no doubt at the Belasco due to Lincoln Center construction) has created much buzz surrounding its direction. Bartlett Sher (South Pacific, Light in the Piazza) was given permission by Mr. Wilson’s widow to direct Joe Turner. Much has been made of Mr. Wilson’s outspokenness and wishes regarding African American directors working on African American plays, and the hiring of the non-African American Mr. Sher. While I cannot speak to the back story of this brouhaha or the motivation of the widow Turner, I can attest to the fact that this was not a gimmick. Mr. Sher does a lush and lovely job with this great American play. There is musical theatre in Mr. Sher’s bones and it shows. The direction is fluid and musical and modulates in tempo, resulting in three hours that actually flies by.
The play is set in 1911 Pittsburgh (the second part of the Wilson Pittsburgh trilogy) in a boarding house. The boarders all present tales of searching and yearning for people and love in various forms. The most permanent boarder is Bynum (Roger Robisnon; TONY,) a mystic of sorts. The (white) traveling salesman Rutherford Selig (Arliss Howard,) creates a rich political and social context. While the individual tales are compelling and dramatically poignant, the real story is post slavery society. Each of the charactersrepresents different stages of acclimation, not unlike non-slaved but subjugated immigrant populations. The owner of the house, Seth Holly (Ernie Husdon,) represents the consummate free man. He has no truck with African customs or mysticism. He owns his own business and has plans to develop a second business that will train and employ other men of color. His wife Bertha (Latanya Richardson Jackson,) except for her salt throwing habit, has embraced the life of the northern experience as well. One boarder, Jeremy, represents the other end of the freedom spectrum. His relationship with his work and his personal life has all the earmarks of a man who does not own his destiny. All of the other characters fall within these opposites.
The cast is flawless, except from an awkward child actor, attesting to the rarity of lack of self-consciousness in pre-pubescent boys. Ernie Hudson (OZ) is mesmerizing. He is a powerful and large actor that does not shy from nuance. Ms. Jackson is a perfect match to Mr. Hudson, and provides a wonderful softness to the tale. It is however, Mr. Robinson that steals this show. His body and cadence curl into a Yoda/Professor Marvel creation. His creation of Bynum is so three dimensional I wanted to have lunch with Bynum.
Like most great American plays, the characters and their stories linger and tell a tale that resonates for all. With absolutely no disrespect intended, Joe Turner’s Come And Gone, is a story that transcends one group of people.
The very end of the play might be considered trite and sentimental by some. Color me a reformed cynic; I loved it. You will be very happy having seen this beautiful production.
Ruined – Review
This weekend I went, somewhat begrudgingly, to see Ruined at The Manhattan Theatre Club. I knew nothing about the play except that it had just won the Pulitzer Prize for Lynn Nottage. That was enough to get me in the door. Once in the theatre (at City Center) I saw the gigantic wall poster of the play’s synopsis. Out of the corner of my eye I spotted those key cringe inducing Eve Ensler nouns and shuddered. I felt lightheaded at the very thought of two and a half hours of “women as victims” narrative. Well, in for a penny in for a pound as they say. I had my ticket and a pocketful of gourmet jelly beans, so into the theatre with me. My equilibrium began to return the moment I stepped inside. The stage is enormous and the house is small; and excellent combination. The stage was set dramatically and expansively, every inch was performance space. I took my comfortable sixth row seat and spun my head like an owl. The house was filled with actual theatergoers. The interracial crowd was tourist-free; another good sign, nary an M&Ms shopping bag in sight. Sitting in the row directly in front of me was Philip Seymour Hoffman (or Phil as his friends call him) and Laila Robbins (not together;) another very good sign. A few rows ahead of me, Lynn Whitfield sat down. Things were looking up. The last time I had been at a performance with such a healthy percentage of actor to commoner ration was August Osage County.
Never underestimate the veracity of good omens. This play is enormous. Yes, it is a play set in a war torn far off locale, and yes there are unspeakable horrors brought upon women, men and children. But there is nothing treacly or sentimental or preachy about Ruined. It is a beautiful story about the human spirit, that brought me to tears (twice) not out of pity for the characters, but out of admiration for their strength. There are wonderful moments of laughter, and there is music, gorgeous, poetic music. The play is set in a taverna/brothel, and the music is live and an integral part of the play. Kate Whoriskey directs this play at a perfect pace. There is never one moment of downtime or distraction, I was riveted to every moment and motion on stage The play is mostly led by female characters who were beautifully developed. The male lead; Russel G. Jones, broke my heart. He is Herbie to Saidah Arrika Ekulona’s aptly named Mama. It does not belittle Ruined to draw this Gypsy comparison. Both Mama’s live off the “talents” of their girls and both have a traveling salesman wooing them. Mr Jones’ Christian, like Herbie, is driven by decency, and in Ruined this male character trait is most spectacular. Ms. Ekulona is a dynamic actress and finds every nuance of Mama, I could not get enough of her. Condola Rashad (yes, Mrs. Huxtable’s daughter) was a delightful surprise. She does a very fine job in the difficult and demanding role of Sophie. It is when she sings that she really comes to life. A capable singer, she is heartbreaking singing the songs of Lynn Nottage. Enough can not said about the play itself. My only concern about it is that now that it has won the Pulitzer, community theatres across America will tackle it. Human Rights organization will build fundraisers around it. But without the gorgeous direction of Ms. Whoriskey, the play could be cheapened. Produced on the expansive stage of the MTC and staged in such a realistic manner, there is a degree of intimacy that is a key component to the experience. This play should not be “watched” it should be experienced. In the wrong hands it quite possibly could deteriorate into a Congo Monologue. Please see it now while it is as it should be. The play and the performances will stay with you and you’ll feel better for having seen it.
Othello: Theatre For a New Audience – Review
There are experiences in the theatre that are as close to perfection as possible while still being real. Othello, by The Theatre For A New Audience is one such production. This Othello, directed by Arin Arbus, has returned to The Duke on 42nd Street, for a limited engagement, after a sold-out run. The Duke is a 200 seat thrust stage (seats on three sides) theatre. It is an intimate and fully exposing space. There is no room for error whatsoever. The actors cannot grandstand or break concentration without very easily being detected. There is nowhere to hide. For two hours and forty five minutes, these actors strut and fret with *very* minimal set. This paradigm could very easily result in disaster. Or in the case of this production of Othello it could be, and is, tremendous. Directed at a breakneck speed, using every inch of space to create visual interest and dramatic effect, it is captivating. The cast, with only one slight exception is monumental. Othello (John Douglas Thompson) is a beautiful commanding physical presence with the voice of G-d. The timbre, passion and inflection of his voice are quite unusual in their excellence. I cannot think of any modern actor (in this country) with such a command of their vocal instrument. Mr. Thompson’s physical presence is artistic, witnessed by his seeming loss of height as the play unfolds. Iago (Ned Eisenberg) has embodied his character. The subtle nuances and humor that he evokes are that of an actor who fully understands his role. He is an absolute (dastardly) pleasure to watch. Desdemona (Juliet Rylance) is lovely and utterly convincing in her role as well.
Of particular note is the drunken celebration after the victory on Cyprus. The music and dance are so well choreographed that I felt as if I had entered a Taverna. The only distracting player emerges in this scene. Bianca (Elizabeth Meadows Rouse) lacks the confidence to play in such an intimate theatre. She is a relatively accomplished actress but very ill at ease when she is not speaking. While this is a bit of unfortunate casting, it did work to reinforce how stellar the rest of the casting really is. Without a flaw, it is difficult to really appreciate near perfection. This production of Othello is the nearest thing to perfection we may ever see. With little fanfare, no bold face names or gimmick casting, and a deep reverence for the text, this Othello is a beacon of hope for the theatre purist. Ms. Arbus direction is intelligent and respectful and she is someone to watch. This production is only up until April 24th. If possible see it and immerse yourself in the pool of pleasure that is excellent theatre.
Here She Is Boys 