After 2 years and a pandemic, theatre-makers and companies all seem to be opening back up and eager to showcase their delayed plans, which explains the recent boom of theatre events that we are experiencing.
The Manoel Theatre's production of Shakespeare's Othello opened its dress rehearsal to the public in anticipation of its performances this weekend. The production features local talent with both familiar and fresh faces, as well as British actor Shawn John taking the title role. Director Ian Moore presents an adapted and abridged version of the text that aims to relate to a 21st century audience by attempting a contemporary staging and modern re-telling, while remaining faithful to the text. This Othello is set in a military setting, highlighting the violent world that these characters are living in.
If you are familiar with Othello, you may agree that the play might as well have been called Iago. Iago is the central character that drives the plot with his scheming, while in constant dialogue with the audience as he constantly updates us with his plans. Whether you as an audience member are able to somehow enjoy Iago's diabolical plans or choose to reserve yourself as a wary on-looker, the story of Othello takes on the form of a tragic car crash that you cannot look away from.
Edward Caruana Galizia presents an Iago who is truly savouring each moment of his evil, giggling every so often at his own manipulative genius. In this case, rather than a threatening presence, Galizia's Iago took the shape of a meddling snake. The delivery of his soliloquies and his control on pacing grounded the performance. While I do not think any Iago manages to earn our empathy, I believe a small part of us enjoys watching Galizia as a villain accepting who he is and acting on his villainy.
Particularly heart-warming was the playful dynamic between Iago and Roderigo (Kyle Borg), out of which came out multiple comedic moments that made you grin at the least. Borg's Roderigo brought semi-farce moments in his scenes, but managed to maintain subtleties where needed. You know you're in for a laugh when he walks on.
The relationship between Michael Cassio (Alex Weenink) and Bianca (Kay Dimech) felt much more intimate and rooted in this production, mainly due to Bianca's presence in the first act. Weenink's Cassio brings out a youthful drive and he truly seems in love with Bianca, a normally disregarded character out of whom Dimech is able to bring out a strong rounded presence. As Cassio, Weenink showed a variety emotional capabilities, especially in his breakdown after losing his reputation. Both actors hold their own and bring a fierce energy with them in this production.
The backdrop for this play was the largely empty stage of the Manoel laid bare, with no curtains to hide any backstage secrets. The decision to not attempt any lavish or grand set design was justified but, since the second act is far more intimate than the first, I do wonder whether this was the right space for the play. The Manoel is a large stage especially in its depth, but for the later majority, the actors gradually worked further downstage, almost disregarding the rest of the space behind them. One scene in particular where the space was used to its full effect was during the party as Iago tries and succeeds to make Cassio drunk.
Violence and war have been increasingly part of our daily lives as social media is able to spread information and images in an instant. We are constantly faced with images of violence to the point where most of us have become desensitised to it. I wonder if the violence shown on stage in this production was justified as engagement or whether it could be disregarded as spectacle. The fight sequences were well executed and planned, but perhaps had some of the acts of violence been left to our imagination, they could have left a stronger impression.
Othello opens this weekend packed with 6 shows at the Manoel Theatre with both matinee and evening shows. Book your tickets here for an experience of chaos, violence, and vengeance.