Tag Archives: Ali Taie

Othello at the Riverside Studios

Othello

★★★★

Riverside Studios

OTHELLO at the Riverside Studios

★★★★

Othello at the Riverside Studios

“the interpretation is a quick-fire and vibrant rendition”

This new take on Shakespeare’s tragedy of race and jealousy comes with quite the twist: the role of Iago is played by three different actors simultaneously. The first question that comes to mind is, why? One has to suppress the faint rising wave of scepticism as the auditorium fills up around us. There is no set whatsoever, and the feeling that this might be some sort of drama exercise is foremost in our minds. It doesn’t take long, however, for this trepidation to be completely eradicated by Sinéad Rushe’s fresh take on the play.

Even without the added theatrical device (which they term polyphonic characterisation), the interpretation is a quick-fire and vibrant rendition. The empty playing space allows us to focus on the performances which are uniformly strong among this small company. With a finely honed physicality and harmony within the cast, no backdrop is needed and, indeed, with the clear-cut pruning of the text no background is needed – such is the clarity and succinctness of the delivery.

The cast are huddled around an acoustic guitar, their own bodies percussion instruments; from which Desdemona (Rose Riley) breaks away and dances unrestrained around the space. An atmospheric opening, but the one (and only) time we do question the dramatic choices.

From the off, Martins Imhangbe is an impressive and imposing Othello. His strong demeanour is quietly controlled, sometimes a touch too soft and vulnerable, before the bemused rage finally breaks through. Riley breaks away from the stereotypical Desdemona, refusing to come across as pure and meek. Instead she is self-possessed but respectful of Othello despite the incomprehensibility of his jealousy, almost to the point of tenderness. Her rendition of the “Willow” song is particularly poignant and beautifully sung. Ryan O’Doherty is a charismatic Cassio, a bit of an enigma, keeping his true feelings under wraps beneath a trusting exterior. Not so Emilia, Iago’s wife, whose distrust and fiery outspoken cynicism is brought to vivid life in Rachel-Leah Hosker’s striking performance.

“This is a show where atmosphere is predominant”

Which brings us to Iago, and the focal point of the production. During the performance, though, the reasoning is immaterial. It ceases to be a question as it works so well dramatically. Michael C. Fox, Orlando James and Jeremy Neumark Jones are all exceptional. Individual, yet merging into one character; they are both a chorus and a trio of separate characters. They become co-conspirators, negotiating among themselves. They surround their victims, sometimes in whispers, sometimes in storms. The effect is often chilling as one man’s voice can be heard echoing in triplicate from three different spaces. Iago no longer addresses the audience, which in turn increases the impact. It is a complex and risky scenario, but in the three actors’ hands it is pulled off to immense effect.

The threatening and menacing atmosphere is sustained throughout by Ali Taie’s percussive and sinister soundscape, along with Alex Lewer’s starkly effective lighting. This is a show where atmosphere is predominant, even though we are invited also to consider the racial and political reasoning behind Rushe’s choice of the three Iago’s. Traditionally Iago draws the audience in and coerces them into being complicit in Othello’s downfall. This is no longer the case. Yes, we are aware of the device but not on an intellectual level. It is a thrillingly innovative approach, but we are so wrapped up in the performances that we forgo analysis in favour of relishing each moment, right up to the tragic and, in this production, quite plaintive ending.

 


OTHELLO at the Riverside Studios

Reviewed on 6th October 2023

by Jonathan Evans

Photography by Mark Douet

 

 

 

Previously reviewed at this venue:

Flowers For Mrs Harris | ★★★★ | October 2023
Run to the Nuns – The Musical | ★★★★ | July 2023
The Sun Will Rise | ★★★ | July 2023
Tarantino Live: Fox Force Five & The Tyranny Of Evil Men | ★★★★★ | June 2023
Killing The Cat | ★★ | March 2023
Cirque Berserk! | ★★★★★ | February 2023
David Copperfield | ★★★ | February 2023
A Level Playing Field | ★★★★ | February 2022
The Devil’s in the Chair | ★★★★ | February 2022

Othello

Othello

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Cancelling Socrates

Cancelling Socrates

★★★★

Jermyn Street Theatre

Cancelling Socrates

Jermyn Street Theatre

Reviewed – 7th June 2022

★★★★

 

“Littler and his team never disappoint in what they achieve in one of the most challenging theatre spaces in London”

 

Cancelling Socrates, just opened at the Jermyn Street Theatre, will please fans of Howard Brenton, one of the powerhouses of British playwriting of the last fifty years. The play may seem a departure from Brenton’s usual concerns. But then we think of Pravda, (written with David Hare) which engages with similar themes of promoting troublesome ideas to a wider public. In that con-text, a play about a long dead philosopher doesn’t seem like such an outlier in the Brenton canon.

Cancelling Socrates is about one of the most famous events in the history of western philosophy—the trial and execution of Athens’ leading philosopher. Socrates was a notable gadfly and “corrupter of the young” as his critics described him. Cancelling Socrates has all the hallmarks of Brenton’s craft—engaging dialogue, liberally sprinkled with witty one liners—and a plot that features extraordinary characters, dealing with fallout from forces greater than themselves. Brenton has always had a nice line in satirical edginess that can highlight a tragic situation while prompting an audience to laughter. But whereas the characters in Pravda have to deal with unscrupulous media barons, Cancelling Socrates has merely to deal with unscrupulous gods, and Athenian citizens tired of being stung into thinking for themselves. Right from the start, you know the arguments our eponymous hero marshals in his defence, are not going to end well.

This premiere production, directed by Tom Littler, and starring Jonathan Hyde as Socrates, places us directly in the philosophical fray of Athens in 399 BC. The limited space available at the Jermyn Theatre is once again utilized to clever effect, (set design by Isabella van Braeckel). In addition to the stylized Greek pillars and friezes, there are signs in both English and Greek available on stage for those patrons needing the toilets, and the sparse set actually gives a sense of spaciousness, which Littler and his cast use well. Cancelling Socrates opens with a blend of English and Greek until we are all settled down, and ready to engage with some philosophical wordplay (mercifully all in English.) Robert Mountford, who plays both Socrates’ friend Euthyphro in the first half, and the Goaler in the second, is an engaging foil for Hyde’s Socrates. Euthyphro is firmly on Team Socrates, but even he is begging for mercy by the end of a run in with the great man over what constitutes holy and unholy acts. It’s a nice set up for what follows.

Those who remember the pathos of Socrates’ death from Plato’s description in the Phaedo should not expect a similar effect in Cancelling Socrates. Brenton sets up the wit perhaps too well, so that the moment of drinking hemlock seems like whimsy, rather than tragedy. Even the presence of compelling characters such as Aspasia (Sophie Ward) and Xanthippe (Hannah Morrish) never quite shift the emphasis from the domestic to the civic. The trial takes place off stage, which doesn’t help. There is much talk of the gods, and the daemons that allegedly prompt Socrates into the acts that doom him. These arguments might not resonate much with a modern audience, even though Brenton reminds us that 5th century Athens was in a similar state of turmoil to 21st century London. It’s a tenuous connection, at best.

Nevertheless, time passes very pleasantly with Cancelling Socrates. Littler and his team never disappoint in what they achieve in one of the most challenging theatre spaces in London. The Jermyn Street Theatre is always warm and welcoming. This play is not a date night show, perhaps, unless you are both philosophers. But it’s provocative, and yes, even family, entertainment. You should definitely take up the opportunity to corrupt your own young.

 

Reviewed by Dominica Plummer

Photography by Steve Gregson

 


Cancelling Socrates

Jermyn Street Theatre until 2nd July

 

Previously reviewed at this venue:
This Beautiful Future | ★★★ | August 2021
Footfalls and Rockaby | ★★★★★ | November 2021
The Tempest | ★★★ | November 2021
Orlando | ★★★★ | May 2022

 

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