The recent RSC production of Shakespeare’s Othello, a story set in Cyprus and focusing on the ‘green-eyed monster’ that is jealousy, is a wonderfully fresh adaptation of the classic tragedy. Director Iqbal Khan used the opportunity to cast Lucian Msamati as Iago opposite Hugh Quarshie’s Othello, creating a gripping dynamic (as Iago’s actions are often considered to be racially motivated). Khan maintains that he does not see Iago’s actions to be race-related and by casting a black actor to play the role the possibility is in some measure removed.
The story centres around the title character Othello, an army general, and subordinate Iago’s vengeful schemes against him and his wife Desdemona. Coldly manipulating his subdued wife Emilia and gullible friend Rodrigo, Iago wreaks havoc with Othello’s mind and attempts to convince him of his wife’s faithlessness with Cassio, another soldier in Othello’s unit. The story and its themes of jealousy and betrayal translates well into a production which is updated if not fully contemporary. The costumes vary from traditional seventeenth-century dresses to futuristic outfits which wouldn’t be out of place on an episode of Stargate, while FaceTime calls and horrific torture scenes complete with drills and hammers are a constant reminder of the effort to update the play. But it is the simpler scenes, such as Emilia and Desdemona’s conversation on a stage furnished only with candles and a rippling pool, that evoke the true sense of Shakespeare’s tragedy – that of emotions misled and deceived. Of course, Cassio’s spirited rendition of Shaggy’s Mr Boombastic and the ensuing racially-charged rap battle were a not unwelcome addition to the first half.
Hugh Quarshie gives a wonderfully convincing performance, torn between his duty as a soldier, love for his new wife and his uncertainty as to who to trust. His progression from loving husband, calm, collected and a respected figure in the unit to jealous and resorting to violent behaviour is steady and his relationship with Iago is by no means unwavering – we begin to see the cracks form in their relationship as doubt is planted into Othello’s mind. Othello certainly isn’t portrayed as an easily influenced character – we see him strengthening his role as a complex anti-hero.
The female characters were also well-cast and provided various concepts of womanhood: Desdemona, the faultless wife, Emilia, the woman estranged from her husband in his revenge, and Bianca, the courtesan who has fallen in love with a soldier. The interaction between the women is a fascinating sub-focus of the production and Emilia and Desdemona’s solidarity amongst the lies and gradually disintegrating structure of the unit is brilliantly acted.
This production of Othello looks like a wonderful success for the Royal Shakespeare Company; by combining contemporary references with traditional Shakespearean themes the tragedy is brought up to date but still addresses the issues for which it has always been known.
Words by Annabelle Fuller