Presenting Shakespeare for the modern age can present problems for directors, actors, and designers alike – and one of them is that concept can sometimes take precedence over the text. I can recall seeing a particular staging of Romeo and Juliet in Los Angeles, wherein the city of Verona took the place of San Diego on a projected map of California. Papa Capulet was running for Governor, while the Montagues hailed from hardworking immigrant stock. Rather than Romeo being “banished to Mantua,” the text was changed to have him be “deported to Oaxaca.” If we agree that Shakespeare is the greatest playwright in the English language, then directors must adjust their concepts to fit Shakespeare’s text, not the other way around.
Happily, no such issues arise in San Jose Stage Company’s wonderful production of “Othello.” The setting is 1950’s noir, complete with musical accompaniment of jazz piano, saxophone, and muted trumpet, and the performers move, ooze, dance, croon and spit poetry like the hep cats they all are. There is a smoothness to the piece, even through the chaos and betrayal, and a crackle of electricity in the performances of the tight ensemble of eight. While all performers deliver well, there are a few that deserve particular mention.
Aldo Billingslea delivers a strong, yet wonderfully nuanced performance as the titular Moor. While Billingslea plays Othello’s strength brilliantly, he also brings so much to the other facets of the character to deliver a rich, complex human being with whom the audience can easily empathize. Charisse Loriaux is marvelous as Othello’s bride Desdemona, and Judith Miller gives a lovely performance as Iago’s wife Emilia. Did I mention Iago? I need to. Johnny Moreno embodies the smooth, scheming character to perfection. Whether crooning a bit of introductory song while looking cool in a pair of dark Ray Bans, performing soliloquy like a beat poet, or setting his plans of sabotage into motion and letting the chips fall where they may, Moreno plays his Iago like the master of ceremonies that he is—in control even to the chaotic end.
Kenneth Kelleher has lead his cast and interwoven his concept to riveting result. The spare set works wonderfully, thanks to Scenic Consultant Robert Pickering and is lit to good effect by Lighting Designer Maurice Vercoutere. Movement Director Keith Pinto got everybody oozing and shuffling and dancing marvelously, and Allison F. Rich got the cast to croon effectively as Vocal Consultant.
Even though “Othello” has closed as of this writing, I feel fortunate to have gotten the chance to see it. It’s as effective an adaptation of Shakespeare as I’ve ever seen. Kudos to the team at San Jose Stage Company for bringing it to us.
“Othello” ended its run at the San Jose Stage Company on June 25th, 2023. For more information about San Jose Stage Company, click here.
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Rating: **** (For an explanation of TheatreStorm’s rating scale, click here.)
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“Othello (A Jazz-Infused Adaptation)” by William Shakespeare. Produced by San Jose Stage Company. Director: Kenneth Kelleher. Scenic Consultant: Robert Pickering. Costume Designer: Jean Cardinale. Lighting Designer: Maurice Vercoutere. Sound Designer: Steve Schoenbeck. Movement Director: Keith Pinto. Props Coordinator: Jenn Trampeneau. Vocal Consultant: Allison F. Rich. Intimacy Coordinator: Will Springhorn, Jr. Fight Choreographer and Captain: Michael Storm.
Cast: Othello: Aldo Billingslea. Iago: Johnny Moreno. Desdemona: Charisse Loriaux. Brabantio, Montano: Michael Storm. Roderigo: Nick Mandracchia. Cassio: Davied Morales. Emilia, Duke of Venice: Judith Miller. Bianca, Lodovico: Elenor Irene Paul.
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