OTHELLO
Donmar
Warehouse, London WC2
Opened 4 December, 2007
***
Not only is this production entirely sold out apart from day seats, but
tickets for it on eBay are currently fetching up to £500 a pair,
around ten times face value. Frankly, it's not worth shelling out that
much just to see Ewan McGregor onstage, no matter how much you like
him. His performance as Iago is pretty much what you would imagine Ewan
McGregor playing Iago to be like. He successfully locates the villainy
(or most of it) in this most villainous of Shakespeare's characters,
and is solid in his characterisation without going either for infernal
revelling or sinister underplaying. He plays the role in his own
accent, which is a good thing, and in his own speech patterns, which is
less so since his is one of the least verse-adept voices I have heard
in Shakespeare for some time.
Contrariwise, Chiwetel Ejiofor in the title role speaks with enormous
resonance and sensitivity, or would do if he were not deploying the
stereotypical Othello orotund-booming-and-slightly-foreign voice, as if
the Moor might hail from Lagos or Llanelli but is definitely not using
the same accent as the Venetians who otherwise people the play. (But
neither is McGregor, and he's meant to be one of them.) Ejiofor is at
his best on stage or screen when portraying an eerie calm barely
holding in check immense subterranean forces. Consequently he is most
impressive here in the early stages of the great temptation scene with
Iago, when Othello's words protest his beloved Desdemona's innocence of
any adultery but the malignant seed of jealousy is visibly taking root
behind his eyes; later, too, when he is (falsely) convinced of her
infidelity but trying to behave formally in public – instead of
speaking the phrase as an ejaculation, he tells Lodovico, "You are
welcome, sir, to Cyprus, goats and monkeys", as if he were enumerating
the island's rutting inhabitants. Even in the climactic bedchamber
scene in which he throttles Desdemona, his almost ceremonial resolve
belies the turmoil of passions beneath. But for most of the play,
Ejiofor's is a puzzlingly old-fashioned performance.
Indeed, this is true of much of Michael Grandage's production, right
from the initial odd note of doublets and hose in the Donmar. Adam
Cork's soundscapes during scenes are wonderfully subtle, but blare up
into undistinguished chording for scene changes or the interval. Kelly
Reilly seems at first to be playing Desdemona as a schoolgirl who weds
Othello in a youthful enthusiasm then finds herself bewildered as his
insecurities break upon her like a stormy ocean; as the evening
progresses, however, it seems more likely that she is either unwilling
or unable to break out of a narrow vocal range. Old hand James
Laurenson shows up the younger players' uncertainties in the minor
roles of Brabantio and Gratiano. And with no-one else transcending the
most conventional of expectations, McGregor's almost
contemporary-naturalistic-prose performance is all the more at odds. He
has to rely on his charisma, where he really ought to let Shakespeare
take at least some of the strain.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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