OTHELLO at the Lyric Hammersmith
★★★★
“Michael Akinsulire’s Othello is a commanding presence.”
We are in a rough suburban pub. It could be London, but more likely a Northern province; the accents give nothing away. But the accentuation of Shakespeare’s words crackles with a dynamic menace that propels us headlong into the ensuing tragedy. Beer bottles and baseball bats are the weapons of choice, a pool table is the battlefield. Frantic Assembly’s fierce retelling drags “Othello”, kicking and screaming, well and truly into the twenty-first century. The jealousy, revenge, paranoia and racism are brought so close to home you can practically smell the beer on the breath; and you’re not sure if you’re about to be kissed or killed.
The opening sequence sets the theme. The electronic duo, Hybrid, provides a throbbing soundtrack that epitomises the tensions. The pecking order is beautifully established in the staccato movement that is both balletic and thuggish. Purists look away – but these moments evocatively replace much of the text that Scott Graham and Steven Hoggett have sliced from the original.
Michael Akinsulire’s Othello is a commanding presence. A powerful gang leader but with a gullibility and vulnerability that Akinsulire manages to pull off without it clashing with, or weakening, his power. Chanel Waddock is a fiery and feral Desdemona, genuinely baffled by the injustices of her husband’s accusations. The performances are powerful, yet unafraid to expose the weaknesses inherent in the characters. Weaknesses that are exploited by Joe Layton’s distrustful and fearful Iago. Layton’s unflinching performance sets the standard and throws down the gauntlet for others to match. Which they do. This is a tight-knit gang who move, think, and speak as one body.
The themes of jealousy and revenge in “Othello” are inherently heightened and often difficult to infuse with realism. It works with these characters, that are dangerous and youthful; fuelled by cheap alcohol and seeming social deprivation. Laura Hopkins’ fluid set displays the grimy claustrophobia that funnels the raging emotions. We never escape the pub setting, except when the walls unfold to reveal the back alleys. At other times the walls shift, threatening to envelop the characters as they sink further into the crevasses of their consequences.
Slightly overwhelming, it is nevertheless thrilling. The key moments are highlighted while superfluity is banished. There is a fine balance between the electrifying physicality and the subtle discourse. The tragic finale comes across as a bit rushed, with a body count veering on the comical. The fault lies in the script: as with some of his other plays, the loose ends seem to be tied up with a deadline-defeating desperation. It’s a flaw the writer can surely iron out with experience though! But with a performance as strong as this, Frantic Assembly will undoubtedly help to ensure that Shakespeare’s work achieves the longevity it deserves.
Reviewed on 24th January 2023
by Jonathan Evans
Photography by Tristram Kenton
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Jamie Wilson and Curve are delighted to announce the World Premiere of “AN OFFICER AND A GENTLEMAN – THE MUSICAL” which will open at Curve on 6 April 2018 before playing at theatres across the UK and in Ireland until 15 September 2018.
This brand-new musical is based on the 1982 Oscar-winning film starring Richard Gere which tells the story of Zack Mayo who is in training to become a US Navy Pilot. When Zack rolls into boot camp with a bit too much of a swagger, drill Sergeant Foley doesn’t make life easy for him. When he falls for local girl Paula Pokrifki and tragedy befalls his friend and fellow candidate, Zack realises the importance of love and friendship and finds the courage to be himself and win the heart of the woman he loves. It’s only then he can truly become both an Officer and a Gentleman.
The musical includes the hit song from the movie, ‘Up Where We Belong’ along with 80’s classics such as ‘Alone’, ‘Don’t Cry Out Loud’, ‘Girls Just Want to Have Fun’, ‘Toy Soldiers’ and ‘Material Girl’ and features one of the most iconic romantic scenes ever portrayed on screen.
“AN OFFICER AND A GENTLEMAN” is one of the highest grossing films of all time. The screenplay is by writer and director Douglas Day Stewart which was based on his personal experience as a Naval Officer Candidate. The book was co-written by Douglas and Sharleen Cooper Cohen.
Producer Jamie Wilson said:
“I am thrilled to be presenting “AN OFFICER AND A GENTLEMAN – THE MUSICAL” and working once again with Chris Stafford, Nikolai Foster and the team at curve.
For the last three years we have been working on bringing this memorable and iconic story to the stage, and hope that this new adaptation becomes as loved as the film.”
Jamie Wilson is the lead producer on the current productions of “Crazy For You”, the forthcoming world premiere of “Nativity! The Musical” and Curve’s production of “Sister Act”.
Director Nikolai Foster said:
“An Officer and a Gentleman delicately charts the lives of working class, military folk in America in the early 1980s; important lives, often pushed to the margins of society. We are proud to be working alongside the film’s creator Douglas Day Stewart, producer Jamie Wilson and an incredible creative team to present this beautiful and inspiring story. This brand-new adaptation includes iconic 80s songs which create an entertaining, uplifting and original piece of musical theatre, we are excited to share this world premiere with our audiences here in Leicester and across the U.K.”
Nikolai Foster is Artistic Director at Curve, one of the UK’s leading regional theatres. His work at Curve includes Joe Orton’s “What the Butler Saw”, Jim Jacobs and Warren Casey’s “Grease”, Oscar Wilde’s “The Importance of Being Earnest”, “Legally Blonde” Truman Capote’s “Breakfast at Tiffany’s”. He directed the hugely successful recent productions of “Annie” starring Miranda Hart which is now showing in the West End, and “Calamity Jane” which starred Jodie Prenger.
Joining director Nikolai Foster on the creative team are Choreographer Kate Prince, Musical Supervisor Sarah Travis and Designer Michael Taylor.
Kate Prince is the founder and director of ZooNation. She was nominated for an Olivier Award in 2009 for “Into the Hoods” and most recently choreographed the hotly anticipated West End transfer of “Everybody’s Talking About Jamie”.
Sarah Travis’ previous credits include “Sweeney Todd” for which she won a Tony Award, “Sister Act”, and currently “A Little Night Music” playing at The Watermill Theatre.
Michael Taylor is an Olivier Award nominated designer with his most recent work including “What the Butler Saw”, “Silver Lining”, “A Christmas Carol” and “The Dresser” in the West End.
Lighting Design will be by Ben Cracknell and Sound Design by Tom Marshall.
Casting is yet to be announced.
TOUR DATES 2018
FRIDAY 6 APRIL – SATURDAY 21 APRIL
CURVE, LEICESTER
TUESDAY 24 APRIL – SATURDAY 28 APRIL
LEEDS GRAND THEATRE
TUESDAY 1 MAY – SATURDAY 5 MAY
MAYFLOWER THEATRE
MONDAY 7 MAY – SATURDAY 12 MAY
WYCOMBE SWAN
TUESDAY 15 MAY – SATURDAY 19 MAY
BIRMINGHAM HIPPODROME
MONDAY 21 MAY – SATURDAY 26 MAY
LIVERPOOL EMPIRE
MONDAY 28 MAY – SATURDAY 2 JUNE
BORD GAIS ENERGY THEATRE, DUBLIN
MONDAY 4 JUNE – SATURDAY 9 JUNE
LYCEUM THEATRE, SHEFFIELD
MONDAY 18 JUNE – SATURDAY 23 JUNE
THEATRE ROYAL NEWCASTLE
MONDAY 25 JUNE – SATURDAY 30 JUNE
WALES MILLENNIUM CENTRE
MONDAY 2 JULY – SATURDAY 7 JULY
EDINBURGH PLAYHOUSE
MONDAY 9 JULY – SATURDAY 14 JULY
MILTON KEYNES THEATRE
MONDAY 23 – SATURDAY 28 JULY
THEATRE ROYAL, NOTTINGHAM
MONDAY 30 JULY – SATURDAY 4 AUGUST
BRISTOL HIPPODROME
MONDAY 6 AUGUST – SATURDAY 11 AUGUST
THE MARLOW THEATRE, CANTERBURY
MONDAY 13 AUGUST – SATURDAY 18 AUGUST
MANCHESTER OPERA HOUSE
MONDAY 20 AUGUST – SATURDAY 25 AUGUST
THEATRE ROYAL, PLYMOUTH
MONDAY 27 AUGUST – SATURDAY 1 SEPTEMBER
REGENT THEATRE, IPSWICH
MONDAY 3 SEPTEMBER – SATURDAY 8 SEPTEMBER
THE ALHAMBRA THEATRE, BRADFORD
MONDAY 10 SEPTEMBER – SATURDAY 15 SEPTEMBER
GLASGOW KING’S THEATRE
