Vengeance, Venetian Style

The play’s full title is “The Tragedy of Othello, the Moor of Venice,” but its juiciest part is reserved not for the title character, but for his vengeful ensign. Iago opens the play in a seething fury that he’s been passed over for promotion in their mercenary army in favor of a younger officer, Cassio. When Roderigo (described by Shakespeare as “a gull’d gentleman”) asks Iago why he continues to serve the general, the answer is, “I follow him to serve my turn upon him.” And since the general is now on a surprise honeymoon, Iago’s turn begins immediately.

The pair goes to the home of Brabantio (Dan Hiatt,) a Venetian senator. They pound him awake with the news that his daughter Desdemona has run off with “an old black ram.” As soon as her absence from the house is confirmed, and Brabantio is forming a guard to find her, Iago steps away from the fray and takes his leave to rejoin the army with Othello, who has been called to Cyprus. “. . . For necessity of present life, I must show out a flag and sign of love.” The score, however, is nowhere near settled.

This is an unusual production for Marin Theatre Company, whose last Shakespeare play was “Midsummer Night’s Dream” in 1978. Program notes explain that Artistic Director Jasson Minadakis decided to include Shakespeare this season because audiences for “Equivocation” had requested something by the Bard, and because the Director wanted to do “Othello” – just as soon as he could find a properly vicious Iago.

Iago is, in fact, the only character whose motive – revenge, served either cold or hot – is recognizable. Craig Marker is the actor chosen to play Iago, and he gives a chilly, subtle portrayal of the one Shakespeare called “a villain.” Aldo Billingslea plays Othello. Billingslea is a powerful stage presence, able to lift and carry other actors. Unsurpassed in battle, his Othello is unsuited to peacetime and the niceties of society; therefore, he’s both dangerous and vulnerable. He’s also The Moor of Venice, an oddity and fair game for all suspicions.

Othello’s new bride, Desdemona, (played by Mairin Lee) is the only one who doesn’t refer to him as “the Moor.” For all who see them together, she’s too young for him, too citified, too dumb and too white. What was the attraction? As her husband tells it, his bride was enchanted by his stories: “She loved me for the dangers I’d passed.”

Michael Cassio (Patrick Russell) who was clever enough to get Iago’s promotion, is not clever enough to avoid getting pulled into his web as Desdemona’s supposed lover. Cassio never quite “gets it.” Nicholas Pelczar portrays the hapless and earnest Roderigo, and Khris Lewin appears in three roles.

The Director’s influence can be seen in Desdemona’s fate and in the other female characters, Aemelia (Liz Sklar) and Bianca (Rinabeth Apostol,) who, in this production, are presented as armed and combat-ready.

J. B. Wilson’s sturdy set is overhung with a 16th Century globe that by night becomes a wide crescent moon. Dave Maier’s clanging sword fights – women included – never miss a stroke.
When Shakespeare calls one of his plays a Tragedy, audiences know there will be casualties. In “Othello,” audiences can argue which one really loved not wisely but too well.

“Othello, the Moor of Venice” will be at the Marin Theatre Company until April 22. Performances are every day but Monday. Tuesdays, Thursdays and Saturdays, shows are at 8:00 p.m., Wednesdays at 7:30 and Sundays at 7:00. Sunday matinees are at 2:00.
Ticket prices range from $15 to $50. For complete information, call the box office at 388-5208 or see marintheatre.org.