DONMAR WAREHOUSE OTHELLO CAST

Ejiofor makes it look not exactly easy but all of a piece, and entirely natural. The cynical view is that Othello is a fit of murderous jealousy waiting to happen. Those who have bought tickets because of McGregor will see at close quarters an actor who can hold the stage no surprise to anyone who saw him being magnetic eight years ago in Little Malcolm and His Struggle Against the Eunuchs and handle the iambic pentameters efficiently. A boyish, bearded Ewan McGregor brings an easy affability to the public side of the role for once, you can understand why everyone is prepared to place their trust in him and he drops the mask in order to assume a slightly louche, though insufficiently unsettling, intimacy with the audience in the soliloquies. In the last 10 years this is the fifth time I’ve seen the play, as compared to eight productions of King Lear and 15 of Hamlet. He may not know precisely why he wants to destroy the Moor, but he’s a dab hand at diabolical planning and his plot goes swimmingly, not least because Othello proves such an easy, if ironic accomplice. With first-rate support from Tom Hiddleston’s posh, rank-pulling Cassio and Michelle Fairley’s fierce and indignant Emilia, this is a terrific Othello and makes one regret all the more that the stars’ commitments preclude a transfer, sending the price of tickets on e-Bay soaring to a reported 1, a pair.

Revelatory lighting by Paule Constable gives these instantly recognisable scenes another dimension: Here, Edward Bennett gives the character proper dignity. The secret of the success of Michael Grandage’s extraordinarily fresh and new-minted production is that, for once, nothing in this familiar tragedy feels like a foregone conclusion. The production subsequently appeared as a recording for radio, broadcast on 4 May on BBC Radio 3. Instead of flattening out the play by showing how the director views the characters, Grandage pays the text — and the audience — the ultimate compliment of allowing the characters to exist in three dimensions. In his Machiavellian machinations, this Iago has not worked it all out in advance and at one point he ponders his next step while sloshing through a Venetian gully. But he’s careful, too: What makes this stand proud amid all recent London Shakespeare stagings is that no one onstage could stand accused of making speeches.

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Othello Review Donmar 2007

But disappointments are often off-set by new [ The secret of the success of Michael Grandage’s extraordinarily fresh and new-minted production is that, for once, nothing in this familiar tragedy feels like a foregone conclusion.

Get me some poison, Iago. The casting of Ewan McGregor in the part has caused the Donmar to sell out donmaar can queue each morning to get in, to stand or sit.

Grandage is alive to the fact xonmar uncontrolled rage is profoundly uninteresting to watch: The detail of Grandage’s production makes it absorbing. With first-rate support from Tom Hiddleston’s posh, rank-pulling Cassio and Michelle Fairley’s fierce and indignant Emilia, this is a terrific Othello and makes one regret all the more that the stars’ commitments preclude a transfer, sending the price of tickets on e-Bay soaring to a reported 1, a pair.

The production subsequently appeared as a recording for radio, broadcast on 4 May on BBC Radio 3. The love between Othello and his wife – as soon as they are in the same place, she nestles into him and he encircles her – is one of the strengths of the production and of Ejiofor’s performance.

An Othello for our times

The stage is given over to them, commanded by Reilly’s dissolving heroine, and Emilia’s bitter, prophetic insights into treacherous husbands. That’s partly because of the power of Ejiofor’s performance. You’d think this would make a void. This is no mere prequel to the murder of two women. Iago, a junior officer tormented by his lack of promotion, sets out to destroy their love and manipulate Othello to serve his own ends.

But it is Ejiofor who will transform the history of the play. Like almost everyone in this Shakespearean-period production, McGregor wears gleamingly lit, sumptuous black clothes that appear lifted from Titian portraits. Christopher Oram has created, with beautiful economy, a series of interiors and exteriors expressing both comfort and decay. But in his Shakespearean debut, such minute control of moment and language comes as a surprise.

It’s extraordinary what Reilly does with Desdemona, whose role is pivotal but who is short on words. Advertise About Tips Contact Us. But Roderigo considers himself resolute, if thwarted. Constantly hinting at but never revealing his full power until the final scene makes it casst the more astonishing when his emotions reach boiling point.

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It’s nearly always Iago who runs away with the play. He is from the beginning obviously martial: Laura Benanti is now playing her dream role on Broadway.

Here, Edward Bennett gives the character proper dignity. There’s nothing deluded or self-hypnotising, however, in Ejiofor’s love for Kelly Reilly’s Desdemona, here visually ravishing in her otheello, if over-childish of speech.

Othello – Variety

Topics Theatre The Observer. A Donmar Warehouse presentation of a play in two acts by William Shakespeare. Delivering the verse with a warm expressiveness, Ejiofor’s magnificent, exotic-accented Othello exudes a calm charisma and has the kind of spiritual presence that watehouse make you dread doing anything shabby in his presence. Beautifully lit so that csat of the scenes seem to have been painted by Titian, this sparely staged production is revelatory in the way it knocks for othsllo such a mean-minded interpretation.

There he is, explaining in rich Shakespearean phrases what a simple fellow he is: Pale, fragile, obstinate and alluring, Reilly makes her voice reedy, her gestures small but decisive: The difficulties of bringing off Othello are reflected in the fact that it is performed relatively rarely. In the last 10 years this is the fifth time I’ve seen the play, as compared to eight productions of King Lear and 15 of Hamlet.

Theatre review: Othello / Donmar, London | Stage | The Guardian

But he’s careful, too: In his Machiavellian machinations, this Iago has not worked it all out in advance and at one point he ponders his next step while sloshing through a Venetian gully. Michael Grandage has directed a magnificent Othello.

He flashes lupine grins, loiters in the dusk rolling a lustrous appraising eye at Desdemona and Cassio. He’s the spider at the centre of the web, the spur of the plot, the thinker to Othello’s feeler.

Lovestruck Roderigo is usually overly delineated as a ninny.