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Post by Latecomer on Nov 26, 2022 16:20:38 GMT
I agree with Jan….I always thought the point of Othello was that the very fact that he was an “outsider” and “different” made it very easy for Iago to plant the seeds of suspicion in his mind….and think of course Desdemona could betray him with someone from her “society”. And I have to admit that every production I have seen has made this quite clear. So a huge part of a production is the feeling of Othello that he just does not belong.
I look forward to seeing this production soon.
I always find the women in Othello really interesting….at the end, where we are hurtling towards tragedy at a rate of knots, Emilia and Desdemona. Just heartbreaking if done well. And so much to explore there….they both know, in their heart of hearts, what is going to happen but seem powerless to prevent it. Still just as relevant today.
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Post by Steve on Nov 26, 2022 23:59:16 GMT
Saw this tonight. Not the most heartbreaking Othello I've seen, but certainly one of the scariest. Some spoilers follow. . . This is not a straightforward reading of the play at all, and is probably better for it, from my perspective, as the straightforward Chiwetel Ejiofor-Kelly Reilly-Ewan McGregor Othello was so powerful and intimate, and I cried so many tears for how damn noble Ejiofor was, that anything straightforward would simply never match up to that, for me! Here, I cried no tears at all, and just found myself screaming under my breath, "Get out, get out!" as this felt like a cousin to that recent horror film classic, whereby "Get out" is the one principal emotion the audience feels lol! Clint Dyer clues us in to just how hopeless this Othello's position is, when, even at the zenith of his importance and influence, Martin Marquez's Duke of Venice recoils from the prospect of even shaking Othello's hand. Not an Iago anyone could love, at any point, Paul Hilton's magnificently distinctive blackshirted Iago is more of a conductor of other people's emotions, than someone who wins them over with charm, more of a ferocious Nuremberg rallies type orchestrator of people's worst impulses, putting me in mind of an Oswald Mosley type, who Dyer allows to enchant most of the ensemble with his malevolent charisma. The ensemble mostly sit around, when not in the scenes, shrouded in the semi-darkness of omnipresent chiaroscuro lighting, acting as a Greek chorus of hatred against Othello, frequently physically conducted by Hilton into threatening Othello, like Doctor Who's angels, who creep up behind you if ever you shut your eyes. Giles Terera's Othello is, therefore, necessarily less of a great noble General and more of an everyman caught up in a horror movie, whereby, like in Polanski's Rosemary's Baby, societal forces are working in concert against him, with Hilton in the role of the Devil. And Terera certainly made me feel the horror and helplessness of discovering that everyone really is against you. That something fascist and diabolical may be going on is clued in by everyone having numbers on their arms, in addition to the forbidding chiaroscuro atmosphere. At one point I thought Hilton's arm number might be "813," the angel number for "I love you," which could cement his role as Lucifer, the angel of light lol. But I probably remember that wrongly. Anyhow, this Othello doesn't always cohere, due to its being so directed, which doesn't always jibe with the uber-emotional tragedy Shakespeare was going for, but the way it conjures up a sense of some of the greatest horrors of the past, and possibly the future, given how Trumpian authoritarianism and bigotry plays to our worst impulses, I felt it was pretty scary, and Hilton won't be forgotten. 4 stars from me.  |
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Post by edi on Nov 27, 2022 8:44:15 GMT
Is it enjoyable for a no-native English speaker? Shakespeare is a big nono for such reasons for me but I love Giles T
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Post by alessia on Nov 27, 2022 9:14:05 GMT
Is it enjoyable for a no-native English speaker? Shakespeare is a big nono for such reasons for me but I love Giles T As long as you read the synopsis beforehand (maybe the whole thing if you have time!) you will be fine - you won't understand everything they say but you'll get the gist. Not sure it is as enjoyable as modern plays where you can just relax, rather than having to concentrate hard to understand. Only one by S I have genuinely enjoyed was the recent NT production of Much Ado About Nothing, maybe because it was a comedy with fewer complicated monologues...? |
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Post by edi on Nov 27, 2022 11:20:44 GMT
Is it enjoyable for a no-native English speaker? Shakespeare is a big nono for such reasons for me but I love Giles T As long as you read the synopsis beforehand (maybe the whole thing if you have time!) you will be fine - you won't understand everything they say but you'll get the gist. Not sure it is as enjoyable as modern plays where you can just relax, rather than having to concentrate hard to understand. Only one by S I have genuinely enjoyed was the recent NT production of Much Ado About Nothing, maybe because it was a comedy with fewer complicated monologues...? Thanks... I and native British partner struggled even with Much Ado at times. Specially with Catherine Parkinson. I may give it a miss unless ppl start raving about it |
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Post by alicechallice on Nov 27, 2022 16:21:51 GMT
As long as you read the synopsis beforehand (maybe the whole thing if you have time!) you will be fine - you won't understand everything they say but you'll get the gist. Not sure it is as enjoyable as modern plays where you can just relax, rather than having to concentrate hard to understand. Only one by S I have genuinely enjoyed was the recent NT production of Much Ado About Nothing, maybe because it was a comedy with fewer complicated monologues...? Thanks... I and native British partner struggled even with Much Ado at times. Specially with Catherine Parkinson. I may give it a miss unless ppl start raving about it Was that also because she never seems to be able to open her jaw much when she’s speaking? It’s like trying to hear somebody muttering behind you in the queue at Gregg’s with her sometimes! |
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Post by joem on Nov 27, 2022 19:18:27 GMT
These reports do seem to confirm my fears that too many directors seem to want to direct the play they want it to be rather that directing the text as written. Othello may be the title character but Iago is always going to be the most interesting figure on stage. The only way to really alter that balance is to write a new script. And then you can't use Shakespeare as the draw. I know the rise of the dramaturg has given some directors permission for the idea that they can completely reshape a text. And whilst that is technically true, it is very rare that a director is a better writer than Shakespeare. Yes, it has been happening for centuries. Through history we have had Lear rewritten to have a happy ending, Merchant ending after Act 4 to put all the focus on Shylock and many, many others. But none of these adaptations have persisted in the repertoire. The originals have. If a director doesn't have faith in the text, they should not direct it. Can we have a post of the month feature so I can vote for this? I absolutely agree with this. I dislike dramaturgs - other than when they craft a work from a multiplicity of sources raher than just dump themselves on a big name - and whilst it is perfectly legit to be "inspired by" or "after" as visual artists say, it is bordering on the dishonest when you are invited to part with your hard-earned cash to see a play by someone in HUGE lettering and end up paying to see the meddlings or muddlings of someone in very small lettering. I'll go to this anyway because I'm very fond of Giles Terera but honestly let's be more honest about who has done what so audiences can make up their minds what they want to see. |
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Post by londonpostie on Nov 29, 2022 8:47:57 GMT
To echo others, Paul Hilton is a considerable success (as Iago), though he carries too much of the production.
Giles Terera seems to have quite the following. Heartening to see the building busy and buzzing again.
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382 posts
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Post by stevemar on Dec 1, 2022 9:07:13 GMT
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Post by oxfordsimon on Dec 1, 2022 12:39:04 GMT
From the photos, it looks like at least some of the actors are wearing microphones
Is that really the case?
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382 posts
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Post by stevemar on Dec 1, 2022 12:57:41 GMT
From the photos, it looks like at least some of the actors are wearing microphones Is that really the case? I haven’t seen this, but its fairly common or even these days almost the default in the Olivier and Lyttelton for the actors to have microphones. I realise that the theatre acoustics and ability to project should be enough, but particularly with other sound effects to be heard over or just quality of sound, I think microphones are fine. |
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Post by alessia on Dec 1, 2022 13:08:43 GMT
From the photos, it looks like at least some of the actors are wearing microphones Is that really the case? Yes I was in front row and they are |
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Post by lonlad on Dec 1, 2022 14:17:19 GMT
Everything now is miked, BEST OF ENEMIES deafeningly so - you'd think they were playing Wembley Arena.
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Post by harry on Dec 1, 2022 14:51:35 GMT
Reviews seem to be very strong but I didn’t find it nearly as interesting, enjoyable or radical as most of the press seem to. Not a patch on the relatively recent Adrian Lester / Rory Kinnear version in the same building for my money.
As many have said it’s Paul Hilton’s show and he’s doing fine work, and aside from Roderigo (who was doing some very shouty hand-gesture-y acting) most of the other performances are good, especially Tanya Franks as Emilia who comes closest of anyone to awakening some proper emotion in the audience.
But the production is so full of sound and light it’s hard to care. The sound booms and the lights jitter so it plays like a horror film… until it doesn’t and the final bedroom scene seems like they ran out of technical rehearsal time. This contrast of mega concept, followed by stark plain performance on a basically bare stage strangely has the affect of making all the deaths seem especially silly - just lots of people running at each other with knives and then falling neatly in position in an almost parody of the end of a Shakespearean tragedy.
So, not for me, ultimately, but clearly many found something in it that passed me by.
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Post by TallPaul on Dec 1, 2022 16:56:49 GMT
Poll added.
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5,694 posts
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Post by lynette on Dec 1, 2022 18:08:07 GMT
From the photos, it looks like at least some of the actors are wearing microphones Is that really the case? I haven’t seen this, but its fairly common or even these days almost the default in the Olivier and Lyttelton for the actors to have microphones. I realise that the theatre acoustics and ability to project should be enough, but particularly with other sound effects to be heard over or just quality of sound, I think microphones are fine. The acoustics are awful in both Olivier and Lyttleton but no excuse for mikes. Imo the actors should be able to sort it out. |
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Post by Jan on Dec 1, 2022 18:23:18 GMT
I haven’t seen this, but its fairly common or even these days almost the default in the Olivier and Lyttelton for the actors to have microphones. I realise that the theatre acoustics and ability to project should be enough, but particularly with other sound effects to be heard over or just quality of sound, I think microphones are fine. The acoustics are awful in both Olivier and Lyttleton but no excuse for mikes. Imo the actors should be able to sort it out. The actors have been amplified in the Olivier at least almost since the NT opened, I think initially with fixed microphones. Sometimes it was so badly done that it sounded like the actors were behind you at the back of the stalls. |
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Post by oxfordsimon on Dec 1, 2022 18:25:44 GMT
Absolutely. If you are a properly trained actor then projection really should not be an issue. If your training is lacking, get to a vocal coach and get sorted.
If your sound designer is intent on a soundscape that drowns out natural voices, tell them to change the sound balance or get a new designer.
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Post by londonpostie on Dec 1, 2022 19:34:21 GMT
As far as I know, productions have been using mics since technology allowed; a discreet pickup and a pack stuffed adjacent to your unmentionables. Not sure about The Globe, though.
The artistic decision in this production is to wear very visible mics strapped to the side of actors heads a la Jamie Lloyd's recent Cyrano (and The Seagull). It worked well in Cyrano, not at all for The Seagull (IMO!).
I'd imagine Mr Terera will be particularly comfortable with headsets given his West End musical background.
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Post by lynette on Dec 2, 2022 23:47:02 GMT
The acoustics are awful in both Olivier and Lyttleton but no excuse for mikes. Imo the actors should be able to sort it out. The actors have been amplified in the Olivier at least almost since the NT opened, I think initially with fixed microphones. Sometimes it was so badly done that it sounded like the actors were behind you at the back of the stalls. Stoppard had them for that trilogy faux Chekhov thing. The one with video screens…I don’t think there was much miking before then. In the early days i learnt not to go into the circle as the sound is so poor there, not the actors’ fault I don’t think. And in the very early days at the old RSC theatre in Stratford you could hear a whisper in the last row of the Gods where you would mostly find me. And right at the top of the ROH you can hear everything clearly. There is a reason theatres were built like they were. Making the Olivier an amphitheatre was a mistake. |
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Post by mkb on Dec 4, 2022 2:59:15 GMT
Paul Hilton is so deliciously evil in a superlative performance as Iago that, as directed, it is astonishing that no-one sees through him.
For Othello, I could not shake off the image of Giles Terera's brilliant turn in Blues for an Alabama Sky, so recently on the same stage. His Moor nimbly dances around a boxing punch bag like a featherweight boxer, but he doesn't quite cut it as a lauded warrior. His delivery of Shakespearean dialogue is good but not great.
Unlike an earlier poster, I thought Jack Bardoe excelled as Roderigo. I also enjoyed Martin Marquez's Duke, Kirsty J Curtis's Bianca, Tanya Frank's Emilia, and Rory Fleck Byrne's Cassio. I initially thought Rosy McEwen's Desdemona underpowered, but her performance grew on me in the second half.
The set design and sound/lighting effects lend to the feel that we're in some other-worldly hellish descent. The whole cast apart from Othello and Iago are billed as also playing "System". I wasn't sure what this meant. It felt like Iago was playing to his imagined audience in his head. It came across as a bit muddled.
This interpretation did not seem to add much to previous versions. I certainly could not discern an Othello-centric take.
It was gripping, but flawed in comparison to what I've seen before. It's somewhere between three and four stars, but because many of the cast are so good, I'll go for four.
First half: 14:03-15:14
Second half: 15:36-16:55
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Post by bordeaux on Dec 4, 2022 10:37:02 GMT
The actors have been amplified in the Olivier at least almost since the NT opened, I think initially with fixed microphones. Sometimes it was so badly done that it sounded like the actors were behind you at the back of the stalls. Stoppard had them for that trilogy faux Chekhov thing. The one with video screens…I don’t think there was much miking before then. In the early days i learnt not to go into the circle as the sound is so poor there, not the actors’ fault I don’t think. And in the very early days at the old RSC theatre in Stratford you could hear a whisper in the last row of the Gods where you would mostly find me. And right at the top of the ROH you can hear everything clearly. There is a reason theatres were built like they were. Making the Olivier an amphitheatre was a mistake. I think it was presumably Nunn rather than Stoppard going for mikes! It was certainly under Trevor Nunn that miking became normal. |
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Post by Jan on Dec 4, 2022 12:43:26 GMT
Stoppard had them for that trilogy faux Chekhov thing. The one with video screens…I don’t think there was much miking before then. In the early days i learnt not to go into the circle as the sound is so poor there, not the actors’ fault I don’t think. And in the very early days at the old RSC theatre in Stratford you could hear a whisper in the last row of the Gods where you would mostly find me. And right at the top of the ROH you can hear everything clearly. There is a reason theatres were built like they were. Making the Olivier an amphitheatre was a mistake. I think it was presumably Nunn rather than Stoppard going for mikes! It was certainly under Trevor Nunn that miking became normal. Nunn introduced direct miking of the actors, they had been amplified by fixed microphones years before that. |
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Post by Fleance on Dec 4, 2022 19:37:31 GMT
I thought it a fine production with generally excellent performances. However, there was one cut that bothered me. At the end of the play, Othello speaks the lines: "I have done the state some service, and they know't. No more of that." The lines following are cut from this production. I'm particularly concerned by these cut lines:
"...in Aleppo once, where a malignant and a turban'd Turk beat a Venetian and traduced the state, I took by the throat the circumcised dog, and smote, him, thus."
That cut line gives us the information that Othello is a Black African and not actually a Moor. A Moor would not have used the term "circumcised dog," presumably being circumcised himself.
The term "Moor" was used loosely in Shakespeare's time, to refer to any people of colour; the cut line gives us more accurate information about Othello.
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Post by tmesis on Dec 4, 2022 21:41:02 GMT
I enjoyed this hugely last night. The 3 hours running time absolutely flies by. I was fortunate to be in the middle of the front row, only around three feet away from the actors at times, and the intensity was almost overwhelming. The production was dark, quite stylised but so effective. I found Terera the equal of Hilton in terms of performance with a particularly good Cassio from Rory Fleck Byrne.
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