Shakespeare Theatre's 'Othello' a Triumph of Tragedy

Following a triumphant performance, the cast of one tragedy paid tribute to the victims of another Sunday night at the in Madison.

If only both were works of fiction.

Bonnie J. Monte, artistic director of the Shakespeare Theatre, premiered her powerful production of Shakespeare’s “Othello” over the weekend on its main stage at . With Broadway and classical repertory veteran Robert Cuccioli slipping into the clammy skin of the villainous Iago, Monte’s expertly professional cast mined the dark edges of this tragic tale of love and jealousy.

Following the curtain call, which brought most of the audience to its feet, Lindsay Smiling invited everyone to share a moment of silence in remembrance of the 9/11 victims who died on that same day 10 years ago.

The emotional moment added to what was an exhausting evening for both the actors and their patrons. “Othello” is one of Shakespeare’s most beloved works, but it does require some heavy lifting. Running in excess of three hours, this production would never be taken for the feel-good hit of the summer.

But for theatergoers looking for some meat on the bone, this production is the bargain of the year. Certainly, no one in Sunday night’s audience complained. Most looked more spent than fatigued, like they had just finished a sweaty, stimulating workout.

Most of the actors, too, broke a sweat, especially Smiling, whose broad-shouldered Othello takes quite a beating from Iago. The title character, most of us know, is the proud Moorish general in the Venetian army who is undone by Iago, a trusted officer consumed by jealousy when his Othello promotes Cassio (Jon Barker) in his stead.

Many scholars, though, observe that Iago is the lead character here, as he manipulates the others to ruin Othello with an evil passion that promotes him to the inner circle of Shakespeare’s worst villains.

Also caught in his web of deceit are Desdemona (Victoria Mack), Othello’s lovely and virtuous wife; the wealthy Roderigo (Matt Bradford Sullivan), who’s love for Desdemona is exploited by Iago. Even Emilia (Jacqueline Antarmian), Iago’s long-suffering wife and the loving attendant to Desdemona, is pushed to the bad end shared by many before the final curtain.

Cuccioli masterfully manipulates the audience with many speeches in which he speaks directly to us, sharing his rationale and passion for the foul deeds he is perpetrating. Having starred here as Julius Caesar and Macbeth, among others, and having served as Broadway’s original “Jekyll and Hyde,” Cuccioli is a proven commodity. Here, he’s in full Hyde mode and relishing the role of antagonist.

The irony, of course, is that while the story follows Iago whipping Othello into a jealous rage (by convincing him that Desdemona and Cassio are making “the beast with two backs”), it is Iago’s jealousy that fuels the plot and its explosive climax.

“Beware, my lord, of jealousy; it is the green-ey'd monster, which doth mock The meat it feeds on,” is one of the famous phrases coined along the way. But Cuccioli doesn’t merely rely on the language. He’s got two of the most expressive eyes in the business, not only revealing emotions but guiding you to what he sees and how he sees it.

Here, though, he adds to his facial repertoire, speaking volumes with a subtle curl of the lip as he observes his conspiracy taking shape.

Smiling, too, is a powerful presence. His stance as Othello borders on the regal, so much so that his transformation into a jealous madman is a bit jarring.

Monte’s direction acknowledges the racial overtones of “Othello” and focuses more on the love between Othello and Desdemona, exploiting the chemistry between Smiling and Mack, and the searing pain experienced when their bond is shattered.

Mack also turns in another triumphant performance. In some productions of this testosterone-heavy tale, Desdemona is little more than a prop, but Mack makes you feel her character’s unconditional love, then the horror and sheer confusion of her husband’s accusations.

Monte’s effective choices unfold on a relatively economical gothic castle set. The costumes by Paul H. Canada are stunning in their period detail. Steve Rosen’s lighting design hides Iago’s villainy in entertainingly dark shadows.

Don’t approach this production casually, but if you want to experience the power of theater, make the effort and feel the burn.

“Othello” runs through Oct. 2 at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave. at Drew University, Madison. For tickets and showtimes, call 973-408-5600 or visit www.shakespearenj.org.