Othello

Othello, Greenwich Theatre, October 10-12 2011 90 minutes

Some ropes, a lantern and a battered tea chest. Three young actors and ninety short minutes to unfurl a timeless classic. A challenge too far or the chance of a lifetime? The producers, a collaborative effort between the Nuffield and Yellowfield theatre groups have bent Shakespeare to their will -trimming the cast, emptying the stage, cutting the time and even modifying "the Moor", who significantly here is white. The characters embrace their new challenge with vigour and vim.

Othello (Craig Pinder) bursts onto the stage in a fireball of emotion, now passionate in his devotion - "If it were now to die, 'twere now to be most happy," now riddled with jealousy and wishing his Desdemona dead -"Yet she must die, else she'll betray more men" he tearfully laments. But while vigorous, committed and in control of his phrasing, he rather rushes his dialogue, declining to linger and let us savour the meaning. Iago (Moses Hardwick), by contrast, is quite the reverse, his delivery more measured, his diction more precise but emotionally weaker and ultimately failing entirely to convince. Desdemona (Belinda “Libby from Eastenders” Owusu) provides some balance, compelling and persuasive when declaring her love – “your wife my Lord, your true and loyal wife” - –but touching and affecting when she pleads for her life - "Kill me tomorrow, let me live tonight". Given what is regarded as a difficult role, her transition from screen to stage was remarkably smooth.

More controversial, perhaps, was the adaptation itself with Director Robin Benfield courageous and strong, from the uncluttered staging – a particularly imaginative use of a short wave radio – to the minimalist cast. However, the abridgement to 90 minutes is much less clear cut, disrupting the tension and interrupting the flow and yet increasing our focus on the key characters of the play. But if the colour of Othello’s skin resonates much less than it once did, the main elements of the play will forever resound; masculine pride and the importance of saving face, the position of women in a society of men and manipulation for gain at the expense of another.

Benfield has assessed his audience –his adaptation is clearly aimed at the young – to a tee. Where pleasure must be instant, three hours is too long. Shakespeare for ninety minutes or Shakespeare not at all.
A thoughtful, courageous and enjoyable adaptation. 7/10

Dick Morgan
October 2011