The racial dimension of Othello on twentieth-century staging and film has always been problematic to say the least. Othello is described by Shakespeare as a ‘valiant Moor’, suggesting the beloved general is either ethnically ambiguous or a Christian convert (presumably having previously followed the Islamic faith). Yet, this understanding of a diverse Shakespearean hero, evidently proved too troubling for many prominent twentieth-century productions; with systematic prejudices in the theatrics leading to unsatisfactory productions, failing in conversations and complex commentary about a man who is simultaneously on both the edges and at the political centre of a society. Often a white actor, sometimes in blackface, played Othello and in doing so racial stereotypes were perpetuated in a play that seeks to comment on the different reactions that Othello must face for his background. This is clearly a fact that the director of The Elysium Theatre Company, Jake Murray, understood as seen by his casting of black actor, Faz Singhateh to play the famous hero; arguing that ‘I don’t think Othello was ever not ‘about race’, even if what we mean by that may have changed over the centuries.’
The changing of the context to fit in the time of iPhone and tablets, of the presidential election of Barack Obama is an intelligent choice by Murray. Parallels are uncovered by the audience between the contemporary and Shakespearean attitudes towards the supposed racial ‘other’, especially devastating considering the recent conservative riots, and amidst a backdrop of the recent Black Lives Matter Movements. Indeed, Robin Kingsland’s Brabantio aptly plays the disgust and horror of a racist man, who cannot believe that his beloved daughter could have married outside of her race. Upon learning that the Duke and other political members of his society do not share his belief, Brabantio further embarrasses himself, conveying the body language of the petulant child. He refuses his daughter Desdemona’s embrace, upon her attempt to reconcile, turning his back to the meeting, and therefore the audience. This childish display of being rebutted, I’m sure, will remind readers of their own conversations with prejudiced individuals who cannot bear to have people disagree with them or proved incorrect.
Yet despite the adversity Othello faces, Faz Singhateh is self-assured throughout the first half of the play – in his love, his abilities, his friendships. Evidently, he rejects the role of ‘other’ that society attempts to place on him. It is only when Iago distorts his trust for his wife that there is a visible change in his demeanour. In this I commend Singhateh; his dejected manner is clear from the moment he walks onto the stage. The inner torment of a man whose identity has been shaken is shown not just in his trembling words, but in his conduct. He begins to hide in the shadows of the stage production, listening to the conversations of others and thus allowing Iago’s lies to delegate him to ‘outsider’. He can no longer touch his wife, without visceral disgust appearing on his face and body: a stark contrast with the almost-teenage infatuation he possessed in Act One. While the first half of the play may have been somewhat slow-paced, the second half is full of action and suspense; featuring Singhateh playing a man on the brink of despair, lowering himself further into sin through his betrayal of friends and infliction of physical violence.
The unscrupulous Iago was also played brilliantly by Danny Solomon with the first half of the play undoubtedly belonging to him and his scheming. His constant interchanging of personality – rowdy soldier, honourable subordinate and utter villain – propelled the narrative forward. Clearly evidenced by the body language of Solomon, he appears a devil on the shoulder of Othello. As he plants poisonous lies into his ears, he holds Othello tightly in his grasp and whispers into his ear. Just as Solomon engages the audience from the first moment, Iago too holds power over Othello’s mind. Indeed, even Desdemona’s flirtatious repartee with her husband (played by Hannah Ellis Ryan) is still not enough to keep his trust. In the end, the multifaceted influence of Iago corrupts Othello, and our tragic hero will not notice until it is too late.
Ultimately, I commend director Jake Murray and co-producer Hannah Ellis Ryan for their production of Othello. While largely it does not deviate from the original adaptation, and perhaps the first half act would have benefited at times from a sharper pacing, there is no question that this was an enjoyable adaptation, with formidable casting. Indeed, the important questions that arise about a black man’s place in a predominately white society are devastating, especially considering the parallels still in contemporary society. As the Elysium Theatre Company approaches the end of their Northern tour, I eagerly await – and highly recommend – their future adaptations of Shakespeare.
Image: Othellos Lamentation by William Salter via Wikimedia Commons
