As some of the most highly contested tickets of 2007/2008, expectations were mighty high upon entering the Donmar Theatre for Michael Grandage’s interpretation of Othello.
Expectations were most definitely met, in fact they were exceeded.
With a star cast to rival a BBC TV Christmas special, it was very easy to accept that the tickets selling for several hundred pounds on the black market were purely for devoted fans of the internationally popular and recognised cast members.
Instead, the audience received an ensemble piece in which the cast members worked seamlessly as a company of extremely capable actors within a sparse and simple, yet highly effective set. The expert lighting, music and perfectly composed sound scapes completed the richly described atmosphere and definition of much of the plays varied settings.
One of Shakespeare’s well known, yet less performed tragedies, Othello deals with the themes of betrayal, jealousy, loyalty and love in its many forms in a plot that ultimately ends with terrible consequences for its protagonist. Set in Venice and Cyprus, it follows Iago’s plans for the downfall of Othello and the usurping of his military position. By manipulating members of the unit under Othello’s command, such as Casio and even his own wife Emilia, he devises a path of destruction lead by envy and greed for power.
The cast had no weak links, and in fact had several extremely strong members. The major star attraction of the show, Ewan McGregor, portrayed an Iago with subtlety and a less obvious style of malice. He depicted the character much more inwardly than often seen in Othello, though it worked in an intimate venue such as the Donmar, one can’t be certain that it would have translated on a larger West End venue with the same strength and level of understanding. Nevertheless, his performance was solid enough to propel the action along.
Tom Hiddleston was positively radiant as Cassio and his pain and distress in later scenes were portrayed with honesty and clarity. His voice carried the text passionately and his Cassio easily gained the audiences faith and sympathy as Iago drew him into his plot of deception.
The all too few female members of the cast (as is the case in almost all of Shakespeare’s work) were not to disappoint either. Emilia was artfully depicted by Michelle Fairley, her interaction with Desdemona warm and resplendent of their close relationship. The ‘Willow’ scene before the final death scene was particularly poignant, Desdemona appearing almost ethereal prior to her fatality thanks to the soft lighting and ambient sound scape. Kelly Reilly’s Desdemona was the epitome of innocence and youthful charm. It is thanks to her naive and personable characterisation that the death scene is rendered even more emotionally affecting for the audience.
The real stand out was Othello himself, artfully executed by Chiwetel Ejiofor. Every thought change was immediately apparent and the relationship between himself and the other characters was at no time uncertain or questionable. Ejiofor was utterly engaging, and the noble and moral ethics of the character were etched within every line of his speech.
While the popular drawcard may have been McGregor, it will be Ejiofor’s performance that every audience member will leave remembering.
Under lesser direction or with a less qualified ensemble the production could have easily dragged at over three hours in length. Instead the audience were driven at a cracking and absorbing pace through the action of the play and it is most definitely worth spending your morning lining up for one of the few same day ticket sales to get a chance to see this faultless rendering of one of the Bard’s greatest plays.
Othello runs until 23 February at the Donmar Warhouse, London. It is completely sold out but check the Donmar’s website for info on the 10 day release seats available for each performance.
