Othello, the classic Shakespearian Tragedy of love, betrayal, racism and power, comes to play in a new suit. Director Sara Tabitha-Catchpole had taken this time-honoured story, condensed it, and then given it a sole gendered cast – twice. An all male cast opens the show to narrate the rise and fall of the “noble Moor” Othello, only to be repeated by an all female cast after the interval.
Whilst the plot of the play is intrinsically the same, the alternate genders of traditional characters give an undoubtedly different perspective upon the familiar story. For example, to see a female Othello parade on stage sporting some very thoroughly tanned legs underneath a short satin dress parodies preconceived ideas of the dominant alpha-male associated with the usual Othello, similarly, having a bearded Bianca appear wearing suit-pants and a gauze cardigan would challenge even the most radical ideas of a 15th century Venetian prostitute.
Nonetheless, Tabitha-Catchpole’s ideal portrays a fascinating interpretation of the original text. The gender transgression seeks to challenge established sexual relations within the play, yet exactly what this adaption is depicting about the traditional narration is ambiguous; as stated in the director’s note from the program “it is difficult to say who the show is aimed at and what it is trying to say.”
The nature of the staging presents the characters in homosexual relationships, which is shown explicitly through not only the frequent kissing between Othello and Desdemona, but also in the heated love tryst of Cassio in the background while Iago and Othello plot destruction. Whether this actually does present an alternative view upon the conventional gender relationships is debatable, as the male characters that are traditionally women (Desdemona, Emilia, Bianca) all act within the effeminate, gay stereotype, and the reverse for the all female cast – however this is for each individual audience member to discern for themselves.
The story unfolds upon a simple but effective set, accompanied with similarly effective and unpretentious lighting, which perhaps could have adopted a slightly smoother mode of transition between scenes. Costuming, centred around the Western marital tradition is a curious choice, and at times makes the characters appear as if they have been caught half-way between a mardi gras and a pavlova stand. In general it was very well acted, if however, the first act lacked some clarity in diction. All actors performed capably, with particular mention to the stand-out performances of Damian Barnett as Emilia, and Kirsten Veness as Iago.
This unique take upon such an infamous narrative will leave you challenging gender and social identities as never before, and is definitely something that must be seen to be understood. May you leave pondering Othello’s parting words of “speak of one that loved not wisely, but too well…”
Review by Jess Morrison
Bookmark & Share.
Posted Tuesday 15 September, 2009. Updated Tuesday 15 September, 2009.
