• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Ed Fringe

Othello – Edinburgh Fringe 2015

August 18, 2015 by Joseph Schofield Leave a Comment

Review of: Othello
Produced by:
Smooth Faced Gentlemen
Price:
£11.50

Reviewed by: Joseph Schofield
Rating:
4
On August 18, 2015
Last modified:August 21, 2015

Summary:

A fast-paced interpretation which develops the themes of gender and sexuality with an all-female cast, allowing for intriguing nuances to emerge.

More Details

“Man up” Ashlea Kaye’s Iago commands Hannah Morley’s Roderigo, a moment of tension that highlights the disruptive gendering of OTHELLO in this production by Smooth Face Gentlemen. Featuring an all-female cast, this interpretation draws attention to the traditional notions of gender in the text, and reconfigures them in interesting ways. Its not completely clear whether the cast are playing as men, or reimagining the roles as women and this ambivalence obstructs an easy understanding of the production’s gender politics. However, in blurring notions of male and female in this OTHELLO, Smooth Face Gentlemen have created a staging that holds true to the basics of Shakespeare’s tragic tale, whilst complementing it with humour and new nuance, developing meaning.

The company have adopted a modern militaristic aesthetic, formal rather than combat ready, aptly signifying both the rank of the characters and their victorious position in the war. Slick scenic transitions use framed, moving (and appropriately, venetian) blinds. The company make good use of the space (Underbelly’s Potterrow venue), with slick transitions and it was refreshing change pace from many of the more static shows that I’ve seen at so far at this years Fringe.

OTHELLO is often a play that deals with gender reasonably with thought and care. Here, Helen Coles’ Desdemona is performed with her usual naivety, but with an added strength of character and her later, heated scenes with Anita-Joy Uwejah’s Othello are performed more as a battle between equals rather than the typical misogynistic domination towards his wife. Of course, Desdemona is still a victim of Iago’s cruelty and director Yaz Al-Shaater and fight director Enric Ortuño horrifically stage her murder here. It’s an extended struggle with a visceral denouement, and Emilia’s (Henri Merriam) entry, a moment too late to save her mistress, is utterly tragic.

Uwejah’s Othello offers a bracing interpretation of the character. She captures his necessary sexuality and charm – we believe that this Othello could be the beloved commander of the Venetian forces. She fights with strength and fluidity, though all her physical prowess is juxtaposed with Othello’s naivety – retained by Uwejah, as “honest Iago” manipulates her. The racial tension, so central to Othello, is maintained in this production though he nature of casting both lovers with female actors develops an overt gay subtext. As is the case with many ‘othered’ bodies, racist historical portrayals have presented black male sexuality threatening. In Are We Not Men? Phillip Brian-Harper describes the image of “the savage ‘walking phallus’ which poses a constant threat to idealised white womanhood”. In Brabantio’s (Terri Reddin) eyes, such a threat is only compounded by the black, gay sexuality presented here. Brabantio’s protest that Othello has corrupted his daughter is given new meaning here with Othello’s intersectional sexual image and by the apparently shocking possibility of Desdemona’s lesbianism.

It is a shame that the production doesn’t capitalise on this deft, though potentially accidental nuance, but the very nature of the all-female cast offers an intriguing reading of the play. The production does raise plenty of questions surrounding gender and sexuality, occasionally highlighting the sometimes-misogynistic attitude of the traditionally male characters with a knowing look to the audience that adds some necessary humour. The engagement with the issues is sometimes frustratingly shallow, although Emilia’s speech towards the end of the play on the similarities between the character of men and women stands up, and nature of an all-female cast supports Emilia’s argument that, intrinsically, they are all the same.

Collectively, the ensemble is very strong and the few examples multi roleing are done well. Indeed, if their TITUS ANDRONICUS is anything like their OTHELLO, it too will be well worth your visit. The company deserve credit for finding so many interesting nuances in the play and their gendered focus is intriguing. An exciting, fast paced production that ably delivers the tragedy in 70 minutes, Smooth Faced Gentlemen have created an enjoyable and intellectual stimulating show.

OTHELLO will continue its run at Underbelly Potterrow until the 31st August at 12:20pm. Tickets are available from the Fringe box office and website – https://tickets.edfringe.com/whats-on/othello-an-all-female-production. 

Creative Team 

Director – Yaz Al-Shaater

Design – Bex Kemp

Lighting Design – Celia Dugua

Dramaturgy – Anna Beecher/ Tom Crawshaw

Fight Director – Enric Ortuño

General Manager – Anna Haigh

Production Manager – Matt Nelson

Stage Manager – Fran Osimani

Costume Supervisor – Hanne Talbot

Graphic Design – Haz Al-Shaater

 

Cast

 Cassio – Emily Baristow

Desdemona – Helen Coles

Iago – Ashley Kaye

Emilia/Duke – Henri Merriam

Roderigo – Hannah Morley

Brabantio/Clown – Terri Reddin

Montano/Bianca – Sharon Singh

Othello – Antia-Joy Uwejah

Joseph Schofield

Author: Joseph Schofield

Joseph is a London-based emerging Live Artist and MA Student at Queen Mary University of London. He enjoys challenging, contemporary work that speaks to a broad range of political, social and ethical concerns.

Filed Under: Review Tagged With: Edinburgh Fringe 2015, Othello, Shakespeare

Join the discussion Cancel reply

NEWS / Living Record Festival of digital arts announces programme

Living Record Festival is a month-long Digital Arts Festival curating and presenting over 40 original pieces from a range of [Read More]

INTERVIEW / Open Bar on A ChristMESS CAROL

Tell us about Open Bar Theatre and also how you came about and how the name came about. OBT: Open Bar [Read More]

NEWS / Ayomide Adegun awarded The Luke Westlake Scholarship 2020

22 year old South Londoner Ayomide Adegun is currently in his 2nd year of the BA Acting course at Royal [Read More]

NEWS / Late Night Staring at High Res Pixels announced

A new play repurposed for online viewing from the creative team behind Scrounger, and the first of the Finborough Theatre’s [Read More]

NEWS / Crimes Against Christmas becomes an audio advent calendar

Typically at this time of year theatre company New Old Friends would have just finished an Autumn tour and be [Read More]

Top Posts & Pages

  • 10 Tips to Help You Prepare for Your Reality TV Auditions
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Katy Owen: Auditioning for Oxford School of Drama
  • Parliament Square at the Bush Theatre
  • Katy Owen: How to Apply to Drama Schools*
  • Alice's Adventures in Wonderland soon to be live online.
  • Interview with Alan Flanagan, writer-performer of Bingo
  • Is this the real location of Ambridge?
  • Katy Owen: LAMDA Audition (First Round)
  • Living Record Festival of digital arts announces programme
  • Joseph Schofield

    Joseph Schofield
    Contributor

  • August 18th, 2015
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2021 · Blue Pie Media

    Share this ArticleLike this article? Email it to a friend!

    Email sent!