Othello Reloaded
Friday, July 11th by scott malia
A New Hampshire production of Othello is upping the ante on high-concept interpretations of Shakespeare. First, it transposes the action of the play into the world of street gangs. Othello’s power is rendered far grittier and less noble in this variation on the play. More importantly, several of the key roles have been refashioned as female characters. The villainous Iago is not only played by a woman, but as a woman as well (by default the character also becomes a lesbian, due to her relationship with Emilia).
You could argue that these two very intriguing concepts could merit separate interpretations. A gangland Othello is loaded enough even without the sex/gender elements thrown in. This milieu ups the race card as gang membership is often drawn along racial and cultural lines. Still, to play devil’s advocate, you could argue that the play is dangerously close to courting stereotypes. Does the only major black character in Shakespeare have to be portrayed as a thug?
The sexual politics are also full of potential. Audiences fatigued by seeing every Othello staged as a statement about racism may find it refreshing to see issues of gender and sexuality featured so prominently. Since Desdemona, like Ophelia, is too often given a wan, whiny interpretation (let’s hope this production is the exception), making Iago a woman gives Othello a fierier sparring partner. It also enriches the role of Emilia, which in some ways is a better part than Desi. Whether or not this Othello can successfully juggle everything on its very loaded agenda, it earns high marks for originality.
July 17th, 2008 at 4:36 pm
How about a version of Othello that casts Cassio as a black man as well, as is the case with Shakespeare & Company’s current production.
The overlooking of Iago becomes almost doubly offensive when Othello seems to choose somebody like himself, over a white man, for the position of Lieutenant. A modern racial issue.