Othello

Once again the titular noble Moor is goaded to murderous jealousy against his wife Desdemona by his malevolent aide Iago, but this 2015 Royal Shakespeare Company production is different. In Iqbal Khan's striking modern-dress staging (set, it would appear, in a Venice that is more like a warlord's camp), Iago, who is usually played by a white man, is himself black, and moved to action at least in part by Othello's promotion of the Caucasian Cassio over him. Although a few earlier productions have toyed with the racial overtones of the play, none has done so quite as cunningly: Khan even adds a “rap battle” between Iago and Cassio to the mix. In this version, Othello is also not as noble as he is ordinarily portrayed, employing “enhanced interrogation” techniques on Iago to get the truth out of him. Even Desdemona is more assertive than normal. In other words, this is an unusual interpretation of the play, but one whose provocations are both intelligent and compelling. The acting is impressive across the board, with Hugh Quarshie a commanding Othello and Joanna Vanderham an excellent Desdemona. But as is so often the case, it is Iago—here, the volatile, swaggering Lucian Msamati—who dominates the stark, almost bare stage. While this version of Othello won't displace more traditional treatments, it is certainly a worthwhile and challenging alternate, one that could prove especially effective in attracting younger audiences who might resist a more conventional approach. Extras include an audio commentary by director Iqbal, behind-the-scenes featurettes, and a cast gallery. Highly recommended. Aud: C, P. (F. Swietek)