Othello loved his wife, Desdemona, too much so, nothing could continue that fever, emotions lessen over time
But this is untenable in the 21st century, with most productions highlighting racial discrimination against Othello, as if this is the only thing that matters in a play about jealousy, trust, revenge, and love.
Director Ruben Santiago-Hudson is having none of it. He thrillingly rejects facile one-dimensional approaches, reaching for and grasping something meatier and a whole lot more challenging.
After some initial consternation, Dad accepts the marriage as Othello prepares to sail off to defend Cyprus from a Turkish invasion. This match enrages Roderigo Motell Fosterwho wanted Desdemona for his wife. Othello's deceitful ensign, Iago Corey Stollsees an opportunity in all of this: He hates Othello and thinks that if he can make the Moor believe that Desdemona is unfaithful, he can lead him down a path of destruction.
The presence of Othello's handsome yet credulous captain, Cassio the ideally cast Babak Taftiis sure to aid him in this plot. That begins with Othello: Far from an irrational brute, Iwuji portrays a military man ahead of his time.
Although his profession is killing, he melts into pure tenderness when he so much as glances at Desdemona. Acting with the decisiveness of a general and demanding "ocular proof" of any claim, he puts his confidence in empirical facts over faith.
Yet once he has enough to form a theory especially about something as precious as lovehe eschews all conflicting evidence, irresistibly sliding into paranoia and rage.
Armed with a bundle of circumstantial evidence and alternative facts, Stoll's Iago is confident, funny, and relaxed, making us understand why so many characters view him as a trusted source. He's not driven by pure malice but by his own irrational jealousy.
While these two men typically consume all the air in Othello, Alison Wright gives a standout performance as Iago's wife, Emilia. With a confident gait and twisted grin, Wright ferociously embodies a woman strong enough to push back against her odious husband.
It's no surprise that the men of the play leave her to die alone, perhaps relieved by the passing of such an inconveniently outspoken woman. Toni-Leslie James costumes her in an opulent dress with sleeves that look like ribbons tied into bows, a gift for Othello to unwrap and covet.
Santiago-Hudson has set Othello during the period Shakespeare originally envisioned: The spectacular use of brocade and velvet in James's costumes places the story squarely in the 16th century, the time of Venetian rule on Cyprus.
Taking full advantage of the remarkable width of the Delacorte, Rachel Hauck's set suggests a Mediterranean fortification with gothic arches, a hallmark of the merchant empire that for centuries served as a crossroads between East and West.
Jane Cox's dazzling lighting flickers like torchlight under the faux limestone, while Jessica Paz expands the world further by tantalizing us with sounds seemingly from beyond the theater. In the production's one major misstep, Derek Wieland's synth-heavy original compositions attempt to capture the "shrill trump" and "spirit-stirring drum" of Othello's military glory, along with Desdemona's maiden-in-a-tower melancholy.
Unfortunately, they end up sounding like the ambient music of a s video game — more MIDI than medieval. Emilia Alison Wright hands Iago Corey Stoll a significant handkerchief in front of a skewed map of the world in Othello.
This Othello unnervingly casts doubt on the inviolability of "ocular proof," especially when we view that proof with less than clear eyes.
Santiago-Hudson also makes a strong argument for Othello as a prescient challenge to the empiricism of Elizabethan thinkers like Francis Bacon.
Are humans actually capable of approaching the truth with objective eyes when we're all products of subjective pasts? It's a question that cannot be asked enough as we place our trust in video and photographic evidence that is becoming increasingly easy to doctor.
Seeing may be believing, but that's a frightening thought when all we see are lies.The Taming of the Shrew By William Shakespeare. The sisters’, Katherina and Bianca, are the principal subjects providing the main contrast in the play, The Taming of the Shrew by William Shakespeare.
Katherina is the fire-breathing, man-eating, despised, older sister of Bianca, the pleasant, beautiful, younger sister, adored by all.
The c-word, 'cunt', is perhaps the most offensive word in the English language, and consequently it has never been researched in depth.
Hugh Rawson's Dictionary Of Invective contains the most detailed study of what he calls "The most heavily tabooed of all English words" (), though his article is only five pages long. Cunt: A Cultural History Of The C-Word is therefore intended as the.
Othello Literary Criticism – What Critics Have to Say. Othello is the famous play by William Shakespeare presenting the tragic and crucial part of Shakespeare’s writings.. Othello- The Characters Tragedy. Othello is chiefly recognized as the characters tragedy.
Daily Devotionals. Follow our Daily Devotionals for in-depth commentary using Biblical Hebrew (Click on a listed item below) HEBREW WORD STUDY – TREASURES OF SNOW (11/18/)-HEBREW WORD STUDY – TREASURES OF SNOW – OTSEROTH SHALAG אצרות.
שׁלג Job “Hast thou entered into the treasures of the snow, hast thou seen the treasures of the hail which I have reserved against. Written around * *, Othello was one of Shakespeare's latter works as well as one of his last great tragedies with only King Lear () and Macbeth () to follow.
But of all of the Bard's great tragedies, Othello stands alone. Inexorably poisoned against the woman he loves by his trusted friend Iago, Shakespeare's Othello is a timeless tragic figure.
This Penguin Shakespeare edition is edited by Kenneth Muir with an introduction by Tom McAlindon.