Review: Othello, Network Theatre

Acting Gymnasium’s latest production of Shakespeare’s Othello is a mixed bag, limping from scene to scene, with no real sense of artistic direction, aside from showcasing its performers.

Othello, a Shakespearean tragedy, tells the story of a respected army general of the same name (Aryan Chavda), whose aide, Iago (Michael Claff), meticulously plots against him to create his downfall, tricking him into killing his wife Desdemona (Prilly Lee) in a rage of blind jealousy.

The one thing you can count on in this play, or in fact with any Shakespeare production, is the storytelling and craftsmanship of the bard himself, and when the actors do fall into the rhythm of the iambic pentameter, the imagery and lyricism can truly soar.

The performances feel like just that – performances. Everyone on the stage is performing the Shakespearean text, not living or embodying it. Each actor’s methodology and practices are evident for all to see, and because of this, there is an incredible disconnect within the company. There is a great sense of self-indulgence in the piece; individual actors so focused on their own performance that the sense of ensemble is somewhat lacking.

Soliloquies are the better-performed sections of the production, making one think this would have been better presented as a showcase of scenes from Othello rather than the full text. However, the majority of the speeches are delivered from the centre of the stage, flat to the audience, which becomes all too reliable a formula, predictable at best. 

Claff as Iago is one of the most impressive presences; he is in command of his text, most notably the famous “And what’s he then that says I play the villain?” speech. Molly Hockham as Bianca is another standout of the evening. She feels somewhat underused throughout, with her ability to shift between seductive partner and heartbroken accused cementing her in the memory.

Gavin McAlinden‘s direction feels restrictive and lacking in imagination. It is simple and linear and has no clear meaning or theme other than to present the text, at times leaving it to feel like a rehearsed reading rather than a fully-fledged production. There are minimal props and set, and at times you can feel the actors sitting on impulses that they are feeling in the moment. There is, however, some nifty stage combat happening, from slaps and punches to dagger combat.

The lighting design by Jonathan Simpson is equally as frustrating. Simpson bookends each scene with a blackout, making you feel the physical turn of the page; there is no flow allowed. This matched with white wash after white wash leaves the stage feeling empty and lacking a clear vision. 

This Othello would benefit from some revisions and an artistic angle with which to cement itself within the London Shakespeare scene. There are strong moments and some strong performances that would lend themselves better to a mixed bill of Shakespeare soliloquies and scenes rather than a full length production.

Written by William Shakespeare
Adapted & directed by Gavin McAlinden
Lighting Design by Jonathan Simpson
Sound Design by Joe Browning
Produced by The Acting Gymnasium

Othello runs at Network Theatre until Saturday 21 February.