Eliezer Williams as Iago, Marisa Duran as Desdemona and Heny Okigbo as Othello.

Photos by Burnt Pie Productions and Linda Blase

Shakespeare's

Othello

Directed by Montgomery Sutton

Associate Directed by Mikaela Baker

Music Directed and Composed by Fernando Hernandez

Produced by Shakespeare Dallas

Audience Rating: PG-13 for murder, blood and violence

Running Time: 2 hours with a 15 minute intermission

Accessible Seating: Available

Hearing Devices: Not Available

Sensory Friendly Showing: All performances are considered sensory friendly, offering open-air, continuous access to bathrooms and lobby area, and minimally startling sound/lighting effects

ASL Performance: Not Available

Sound Level: Comfortable volume, quiet at times

Noises and Visuals to Prepare For: Sudden thunderstorm sounds, stage knives and stage blood used, depictions of violence and murder

Reviewed by Natalie Shaw

The first known murder was just as brutal as any other. The attacker smashed the victim twice in the head, leaving matching holes above the victim’s left eyebrow. The dead body was then dropped down a 43-foot shaft into a cave—where it lay for nearly half a million years...Paleontologists pieced together the 430,000-year-old skull and reported their forensic analysis. -- Erika Engelhaupt, 2015, National Geographic

The above discusses what is understood to be the oldest known evidence of a murder. The author is clear that homicides had been occurring long before this, and that the idea of "murder" is actually much more of a modern concept than we would think. Consequences for taking the life of another, likewise, is also a newer concept, suggesting that such an act had its place in early history. The below, however, suggests that God had very different feelings, considering the matter.

And Cain talked with Abel his brother: and it came to pass, when they were in the field, that Cain rose up against Abel his brother, and slew him. --Genesis 4:8

In Biblical terms, this is the earliest record of a murder, one of a jealous man killing his own brother. I can still remember sitting in my second grade Sunday School class, listening to my teacher tell this story and thinking, "did that really happen, or are you making this up or something?" Seems a bit violent for God's word, at least for a Second grader. Not to mention unnecessarily extreme. Ironically enough, however, Cain was jealous over God's favor of Abel, as if killing Abel might somehow mean that God would now favor him, as if by process of elimination. I'm not an expert on the Old Testament, but I'm confident that's not how the "God's favor" thing works, too bad Cain. In verse one of Genesis, Cain and Abel are born; by verse eight, Cain is already murdered by his brother. The remaining context is mostly slim, except to tell us their occupations and that God favored Abel.

Shakespeare's Othello, like all of Shakespeare's tragedies, offers us a more in-depth narrative and insider's guide to the murders within its plot, and Shakespeare Dallas' current production makes the most of his language in order to portray this age-old tale. Flooded with themes, albeit too many to name (suspicion vs. truth, illusion vs. reality, racism vs equality, jealousy and power struggles are just a few,) perhaps the most memorable is, well, murder. Each theme plays its own part in what leads to the killings, but ask anyone who claims to know Shakespeare pretty well what Othello is about and they'll likely say something like, "Oh, that's the one where he kills his wife because he thinks she's cheating on him." No, it's not the only play where the wife is wrongfully suspected of adultery and therefore dies, whether via execution (Cymbeline,) or by his indirect behavior (The Winter's Tale,) but it is the only one where she dies knowingly by his own hands.

Othello, played by the incredible Henry Okigbo is convinced, by his "honest" friend Iago (Eliezer Williams) that Desdemona (Marisa Duran) is a secret lover to Cassio (Carson Wright.) Okigbo is a compelling lover and friend to Duran's charming Desdemona, and together, they are magnetic. Their unfortunate ending is shockingly heart wrenching, even for those of us who know the story well. Dr. Danielle Georgiou (as Movement/Intimacy Coordinator) and Kaitlyn Farley (Fight Choreographer) have collectively staged a disturbing suffocation/strangulation scene for the couple that is much like watching a train wreck happen in slow motion--you can't look at it, but you can't look away. What leads us to this point? Iago. In a nutshell, the "Standard-bearer" is passed up for a promotion as Lieutenant by military General Othello. When Cassio is named as Lieutenant, Iago uses every trick in the bag to destroy both Cassio and Othello, saying "I hate the Moor!" He is not only after their reputations, (Cassio's greatest concern,) but their lives. Williams plays a complicated and sensational villain--not giving us much room for any level of compassion for him! We want to have reason to like the guy! We want him to have at least one redeeming quality, but as far as what's available in this snapshot of Shakespeare's story, there are none. Williams' Iago is calculated, leaving the dirty work mostly to Cassio and Othello; he effectively plots them against one another, while also roping in others who've believed him to be a "very honest" man. Wright's performance is captivating, giving us a Cassio who is deeply human, and reliably credible, a reversed image of William's Iago.

Through numerous soliloquies, the audience is privy to Iago's schemes and begins to design their own devices against his cruelty. Jasonica Moore (Aemilia, who is Iago's wife and Lady in Waiting to Desdemona) comes to our aide in outing her husband and his strategies, but only after sweet Desdemona is dead. Moore tears the roof off the building (if we had one, we are outside, afterall) while she effectively reprimands an adolescent-like Iago and distraught Othello. Attempting to silence her, both men threaten her with death, but in a chilling, climactic moment, Moore places Othello's daggared hand on her own throat, preparing to die on her hill of truth and righteousness, leaving the audience in a jaw-dropped fascination at her bravery.

Excellently bloody graphics are added by Gore expert, Isa Flores, and beautifully arranged music is composed and directed by Fernando Hernandez. Designers and technicians who also contribute to The Importance of Being Earnest bring their praiseworthy expertise to Othello as well! For exact dates of when Othello and The Importance of Being Earnest play this season, see Shakespeare Dallas' calendar of shows. For ticket information, visit shakespearedallas.org! Don't miss this incredible season with Shakespeare Dallas! Catch both shows before they close in July.

You can also listen to Dallas Theatre Journal's Spotlight On! Episode on Othello on Spotify! Listen, Follow and Share!

Enjoy the Shows!

Natalie Shaw