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• W96679191 abstract "Presented by The Shakespeare Theatre of New Jersey, Madison, New Jersey. October 28-November 23, 2003. Directed by Scott Wentworth. Set by Michael Schweidardt. Costumes by Marion Williams. Lighting by Matthew E. Adelson. Fights by Rick Sordelet. Sound by Steven L. Beckel. With Michael Stewart Mien (Roderigo), Paul Mullins (Iago), John FitzGibbon (Brabantio), Raphael Nash Thompson (Othello), Gregory Derellan (Cassio), Joseph Costa (Duke), Joe Fellman (Gratiano), Greg Jackson (Lodovico), Caralyn Kozlowski (Desdemona), Mark Elliot Wilson (Montano), Jennifer Van Dyck (Emilia), Erin Lynlee Partin (Bianca), and others. At the Shakespeare Theatre of New Jersey (formerly the New Jersey Shakespeare Festival), guest director Scott Wentworth directs a strong, powerful production of Othello. The setting for this study in evil is simple and subdued. Three sand-colored stucco walls form the backdrop for every scene. Three sets of double doors and an upper circular window provide stage depth. Exterior scenes have flickering votive candles that are attached at seemingly random points to the walls; these create the illusion of light being reflected from the sea. Props are limited to a few benches, tables, and wine bottles. The costumes are a mixture of Renaissance styles for those associated with Desdemona and late nineteenth/early twentieth-century grey-and-black military outfits for Othello and his men. Iago dominates this production. He is the playwright, the director, and the star of his evil play. Shakespeare wrote Othello, but within that framework Shakespeare allows us to witness Iago constructing his own play and Wentworth emphasizes this with Paul Mullin's hand gestures, physical behavior, and facial expressions, which evoke a self-contained, manipulative individual who enjoys his power to control others. Whether he puts his arm around Cassio or Roderigo, or his hand on a kneeling Othello's left shoulder, he evokes the image of a devil who is the puppet master pulling the strings. Iago preys on Othello's mind. He has the ability to bring Othello to his knees. Iago makes Othello fall apart emotionally and physically. When Iago tells Othello how many times Cassio has been intimate with Desdemona, he delivers his lines so slowly and skillfully, as though each word is a sword plunged into Othello. When Iago tells the kneeling Othello to kill Desdemona (4.1), he places his hand on Othello's left shoulder and Othello appears to sink into a hypnotic trance. Othello is a large, physically powerful man with a deep commanding voice. His dominating stage presence evaporates rapidly as Iago weaves his evil web. Othello's deliberate, slow movements and grey hairs suggest his proximity in age to Brabantio. …" @default.
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• W96679191 date "2004-03-22" @default.
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• W96679191 title "Othello: Presented by the Shakespeare Theatre of New Jersey, Madison, New Jersey" @default.
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