October 19, 2005 |
What's right with A Noise Within's "Othello" is what's wrong with this handsome but flawed production of Shakespeare's corrosive tragedy: Geoff Elliott's deliciously loathsome Iago. Closely bearded, lean and mean in black leather, Elliott, who co-directs with Julia Rodriguez-Elliott, is an Iago so assured of his dominance over the pawns in his own psychopathic drama that when he's not dripping venom, he's sputtering with barely contained, explosive glee. It's a blast to watch.
October 16, 2004 |
Performed by a 12-member cast on a bare stage, the Cheek by Jowl modern-dress "Othello" focuses all its considerable energies on how eagerly Shakespeare's characters stumble toward disaster. The 14-year-old British company made its local debut on Thursday in the Freud Playhouse as part of the UCLA Live International Theatre Festival, avoiding any suggestion of Venetian pomp or Cypriot atmosphere but resourcefully clarifying the text.
May 10, 2004 |
No wonder Othello is so angry. How could he not be, when Shakespeare gave him title billing in a play, then turned around and heaped all the zingy lines, not to mention the laughs, on that weaselly underling Iago? The scheming ensign who topples the great general once again emerged as the audience favorite in free weekend performances of "Othello" by Minneapolis' Guthrie Theater.
December 19, 1999 |
The burgeoning examination of the musical heritage of colonial Mexico has revealed another fertile period of cross-cultural fusion, as Native Americans were trained in European styles. The bulk of this anthology of short pieces and readings relevant to the revelation of the Virgin of Guadalupe are early 17th century Spanish songs and Latin liturgical pieces by Guatemalan Indian Tomas Pascual.
May 11, 1996 |
Ron Campbell, one of the region's most visible classical actors, is a natural to play Iago. His performance as the grand schemer is the most interesting aspect of an unimaginative "Othello" at Laguna Playhouse. Lithe as a fox, Campbell speaks Shakespearean as if it were his first tongue. When his Iago is with others, his face never betrays his villainy--but when they're not looking, his eyes size up the situation in a single glance.
April 12, 1996 |
C. Bernard Jackson's "Iago," in LATC's Theatre 3, gives a radically revisionistic slant to Shakespeare's "Othello." A revival of the 1979 Inner City Cultural Center production, "Iago" could best be described as a "What If?" play. What if Iago were not a scheming dastard after all, but a much-maligned victim of racism and internecine politics? In Jackson's version, Iago (J.D.