Nari Blair-Mangat’s dramatic illustration of a young and good Othello tarnished by eating the fruits of Iago’s (James Alexandrou) words and tempting concoctions, drive him into a pit of insane hell. Alexandrou plays a cool-under-pressure Iago, sure of his deeds and intentions under a looming red light as he softly and slowly quotes Iago’s most famous soliloquies. He manages to retain some of the east London characteristics of Eastenders’ Martin Fowler, yet by keeping his boyish attributes at bay he successfully plays the most dangerous character.
Iago is without a doubt a favourite villain not only for his Machiavellian cunning and power to control the fate of feeble innocents, but also his undeniable tendency to make an audience question human evils and capability; can we plant the seed of manipulation to take a life including one’s own?
Blair-Mangat’s Othello however, is extraordinary. He is the most aggressive and mad hothead but this does not put him at a disadvantage. Valiant and noble as the ‘moor’ must be, this lighthearted and loving husband’s fortune is undermined by his naivety and gullibility. Blair-Mangat’s portrayal highlights an insecurity silently killing Othello as he tells the audience, “she loved me for the dangers I had pass’d, and I loved her that she did pity them”.
If Shakespeare were alive today this would be how he wanted it to be. Iago the frighteningly clever psychopath and Othello the easily swayed captain who regresses into a sickly and mentally unstable maniac. One may even say that Blair-Mangat’s Othello takes on another shade, a paranoid husband who believes he does not deserve the love from Desdemona (Annabel Bates), the Venetian senator’s daughter.
Emily Jane Kerr was most notable for her portrayal of Emilia in the final scene, showing the audience what a truthful best friend looks like. And Jim Conway’s version of Brabantio is ruthless. You would not want to mess with him nor his sword.
Shakespeare theatre is not dramatic unless its gets an audience engaged, gasping and introspective of the human condition, and Daly’s Othello effectively does this. Othello can be produced in various ways but Grassroots ‘re-vitalised, re-imagined and re-examined’ work warrants a position in the West End as part of Shakespeare’s legacy, which so happens to take place on his 450th birthday.
Othello is on at the Leicester Square Theatre until the 26th April.