×
You will be redirected back to your article in seconds

Othello

Shakespeare Repertory artistic director Barbara Gaines has delivered an "Othello" that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she "finds the pervasive and incessant clash of two cultures" at the heart of Shakespeare's tragedy.

With:
Cast: Paul Butler (Othello), Kyle Colerider-Krugh (Roderigo), Steve Pickering (Iago), Ian Barford (Cassio), Deborah Staples (Desdemona), Lisa Dodson (Emelia), Greg Vinkler (Brabantio, Gratiano); Glenda Fairella Baker, Niki Miitchell, Hamid Drake, Terrence Green, Magica Bottari, Robert Bundy, Jeff Christian, Tim Curtis, Kurt Ehrmann, Dominic Fumusa, Thom Van Ermen.

Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy.

To remind audiences that Othello’s roots are far removed from the play’s Venetian setting, Gaines has spiced the production with the ominous sound of African drums and fiery native dances. It is an interesting approach, but one that ultimately seems at odds with the story and the characters Shakespeare created.

Whatever one makes of Gaines’ take on the script, however, her “Othello” is doomed by the unfortunate casting of Paul Butler in the title role. Butler was an effective but low-key presence last season in Peter Sellars’ controversial staging of “The Merchant of Venice” at the Goodman Theatre. Here he is miscast. Lacking the commanding authority of a military leader, Butler delivers his lines so softly much of the time that he barely registers onstage.

The rest of the cast acquit themselves well. Deborah Staples is particularly memorable as the emotionally tortured Desdemona. Demonstrating a solid command of Shakespeare’s verse, Steve Pickering is a chillingly villainous Iago. Ian Barford and Greg Vinkler also are quite good as, respectively, Desdemona’s would-be love interest Cassio and her father, Brabantio.

With the help of superb work from her design team, Gaines’ period production, set in the 1870s, looks great in the Ruth Page Theater, a difficult space to make work for theater. Donald Eastman has provided Gaines with a long, raked-thrust playing area. Frances Aronson’s crisp and finely detailed lighting enhances the drama. Nan Cibula-Jenkins’s elegant costumes are a fine addition to the production.

Othello

Ruth Page Theater; 333 seats; $32 top

Production: A Shakespeare Repertory presentation of the play by Shakespeare. Directed by Barbara Gaines.

Creative: Sets, Donald Eastman; costumes, Nan Cibula-Jenkins; lighting, Frances Aronson; songs and music, Lloyd Brodnax King; sound, Robert Neuhaus; fights, Robin McFarquhar; choreography, Frank Fishella; production stage manager , Deborah Acker. Artistic director, Barbara Gaines; managing director, Criss Henderson. Opened Oct. 22, 1995. Reviewed Oct. 27. Running time: 2 HOURS, 50 MIN.

Cast: Cast: Paul Butler (Othello), Kyle Colerider-Krugh (Roderigo), Steve Pickering (Iago), Ian Barford (Cassio), Deborah Staples (Desdemona), Lisa Dodson (Emelia), Greg Vinkler (Brabantio, Gratiano); Glenda Fairella Baker, Niki Miitchell, Hamid Drake, Terrence Green, Magica Bottari, Robert Bundy, Jeff Christian, Tim Curtis, Kurt Ehrmann, Dominic Fumusa, Thom Van Ermen.

More Legit

  • The Prom review

    Broadway Review: 'The Prom'

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

  • Sutton Foster'A Chorus Line' 75th Anniversary

    'Younger' Star Sutton Foster Recalls One of Her Early 'Terrible' Auditions

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

  • Hadestown review London

    London Theater Review: 'Hadestown'

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

  • Mother of the Maid Glenn Close

    Listen: Glenn Close on What 'Fatal Attraction' Means in the #MeToo Era

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

  • Pinter at the Pinter review

    West End Review: 'Pinter Three and Four'

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

  • Nickelodeon Teenage Mutant Ninja Turtles

    Nickelodeon's Evolved 'Turtles,' 'Game of Thrones,' 'Hamilton' Among Licensing Innovators

    Shakespeare Repertory artistic director Barbara Gaines has delivered an “Othello” that, among other things, attempts to interpret the play as a commentary on racism. In her production notes, Gaines say she “finds the pervasive and incessant clash of two cultures” at the heart of Shakespeare’s tragedy. To remind audiences that Othello’s roots are far removed […]

More From Our Brands

Access exclusive content