Some consider Othello to be Shakespeare’s greatest play It certainly is one of his most action-packed, filled with enough betrayal, intrigue, lust and suspense to captivate the most blasé audiences.
In the Milwaukee Repertory Theater’s production, the play is set among the world of modern motorcycle gangs. (Not surprisingly, the show is sponsored by Milwaukee-based Harley-Davidson.) Harleys roar around the set as the beat of heavy metal music reverberates through the theater. Lighting effects cause the motorcycle’s chrome to flash as the cycles circle the stage. It is the most testosterone-heavy version of Othello that this critic has ever seen.
But it works. The play’s almost primal images of lust, jealousy and betrayal are parallel to the life-or-death issues one might perceive in a motorcycle gang.
As in the original script, the play is set in Venice and faraway Cyprus. But the once-idyllic city is now a dimly lit, grimy urban center. Two rival motorcycle gangs, the Venetians and the Turks, engage in a bloody battle scene. These are big guys, who wear studded motorcycle vests, numerous tattoos, chains and sunglasses (regardless of the hour). The Venetians celebrate their victory with the type of nighttime orgy one might well associate with motorcycle gangs. It is fueled by beer, bonfires and leather-clad, tattooed, long-haired girlfriends. When the guys are not chugging beer, they celebrate with chants, hoots and wolf howls.
Despite all the emphasis on spectacle, artistic director Mark Clements keeps true to Shakespeare’s dialogue and plot. The play centers on the love between a much-honored military leader, the dark-skinned Othello (Lindsay Smiling), and his pale white-skinned wife, Desdemona (Mattie Hawkinson). Although some productions play up the racial differences between these two lovers, it is not apparent here. One is meant to think of Othello as night and Desdemona as day. As such, one cannot exist without the other. The two actors bring a convincingly fiery passion to their interactions.
One only wishes that Smiling could be about six inches taller. He is not nearly as big as most of the “thugs” who populate his gang. This makes it a bit difficult to believe that he has not been thrown over by one of the refrigerator-sized men who serve him. In terms of size, it helps that Hawkinson is a most diminutive-sized Desdemona. Gerard Neugent, who plays the evil Iago, is not much shorter than Othello. Neugent effrectively “shrinks” himself in Othello’s presence by sitting, crouching, kneeling and squatting.
Size issues aside, Smiling’s voice has a beautifully rich cadence that is well-matched by Desdemona’s high-pitched, almost chirpy voice.
In a speech played directly to the audience, Iago makes no pretense about his motivation for causing Othello’s downfall. He plainly states that his irritation at being passed over for a higher military rank fuels his hatred for Othello. And yet, Neugent is among the few Iagos who effectively conveys the larger picture that Shakespeare intends. Iago hates Othello, but he also hates everyone, himself included. He feels no pity for any man or woman who might die as his single-minded plan unfolds. And when his plan fails, he seeks no pity for himself, either.
The play’s sexuality is in full swing here. In order to provoke Othello’s jealousy, Desdemona must insinuate sexiness without being overtly sexy. Under Clements’ direction, Hawkinson skillfully walks this fine line. She must appear girlish, yet have a distinct sexual aura. Costumes play a big part in this regard; once married, Desdemona literally strips off her wedding gown to reveal a leather vest and leggings beneath. She rides off on the back of a Harley driven by a member of Othello’s gang. Othello is not unaware of the effect Desdemona has on other men; even Iago confesses privately to be under her spell.
The three principals are assisted by a fine supporting cast. Melissa Graves makes quite an impression as the comical-looking “hussy,” Bianca. She nearly steals the spotlight from a mild-mannered Reese Madigan as Cassio, Bianca’ love interest.
James Pickering gives a nuanced performance as the cigar-smoking Duke of Venice. Jonathan Wainwright uses youth to advantage while portraying the foolish Roderigo, who bankrupts himself in the hope of winning Desdemona’s favor
. Lee E. Ernst makes such a wonderful Brabantio that one wishes the character didn’t have to disappear so soon. Dressed in a skull cap, motorcycle gang jacket, sunglasses and long, gray-white beard, Ernst is one scary-looking dude.
The production values are nothing short of spectacular, from the original score to the costumes and sets. Designer Todd Edward Ivins sets many of the key scenes beneath a section of rusty bridge pilings that almost seem to ooze a bloody red color. Another part of the set, a brick doorway, has the back-alley atmosphere of West Side Story. This all contributes to one visually imposing production and a heck of a good story.
