November 22, 2013
The GazetteNovember 22, 2013
By Pat Donnelly
Read the article
MONTREAL - In Shakespeare’s Othello, a mature military man is provoked into a jealous rage by a lying rogue named Iago.
The question of why Othello is so easily convinced of his wife’s infidelity by a wily comrade bucking for a promotion challenges every director who takes on the play.
One answer is that Iago’s powers of deception are widely effective. Shakespeare has him frequently referred to as “honest” or “good” by those around him. Roderigo is also thoroughly duped by Iago, egged on to murder Cassio.
We might be fooled, too, if we were not let in on the game through a series of soliloquies in which Iago shares the dark side of his mind.
At Thursday night’s opening of Othello, directed by Alison Darcy, at the Segal Centre, Sean Arbuckle’s articulate delivery of Iago’s pivotal “I hate the Moor” speech convinced me that the play was going to unfold as it should.
My first concern had been that Marcel Jeannin, as Roderigo, was going to steal too many scenes. My second one was that Maurice Podbrey, as Brabantio, father to the runaway bride, was more at a loss than he should have been, faltering on his lines. But his charismatic presence soon made up the difference.
Would that Andrew Moodie’s Othello and Arbuckle’s Iago had more of that undefinable quality that instantly gains our attention. Both are accomplished actors who give strong, studied performances in these two pivotal roles. But I found myself admiring their craft rather than being swept away by their work. While good diction is crucial to Shakespeare (Arbuckle excels here) and clever use of gesture is a plus, there’s no substitute for passion, or the truly thoughtful pause.
Moodie’s Othello has external charm, wit and a good hand with a sword. But he often comes across as needy where he should be commanding (posture is a factor here), petulant where he should be deeply outraged.
Directorial interpretation could be a factor here. Othello, which deals with spousal abuse of the honour-killing kind, is bound to be viewed differently by a woman. Darcy has brought out the best in the women in the play, shifting the balance of our sympathies accordingly.
I cannot recall ever seeing a more sincere, intelligent, likable Desdemona than Amanda Lisman. (Innocence does not equal stupidity.) And Julie Tamiko Manning’s Emilia, the courageous wife of Iago, has us in her palm from her first word. Their shared willow-song scene is a gem. Gitanjali Jain deftly switches genders from boy servant to Bianca, Cassio’s mistress.
Daniel Brochu is a thought-provoking, hyperactive Cassio. Daniel Lillford’s Duke stoops into low comedy in his first scene, but finds dignity in the last. Paul Hopkins does an impressive turn as Montano. (Again, presence.)
The visual elements of the production — from its sweeping, minimalist set adorned briefly by curio cabinets and its timeless costumes (both by Véronique Bertrand) to its moody, lateral lighting (by Nicolas Descôteaux) — are superlative. Although the sudden, metaphoric flood during the bedroom scene is rather baffling, the use of the dangling bed sheet is brilliant.
David Oppenheim’s soundtrack, featuring the music of Claudio Monteverdi, adds a haunting note to this worthy rendition of a tragic tale.
Othello, by William Shakespeare, continues at the Segal Centre, 5170 Côte-Ste-Catherine Rd., until Dec. 1. Call 514-739-7944 or visit segalcentre.org.