Othello, Shakespeare Theatre Company, Harman Hall, Washington, DC

 

Ben Turner as Iago and Wendell Pierce as Othello in The Shakespeare Theatre Company production of Othello. Photo credit: Teresa Castracane.

Back in March (which now seems like many months ago), I reviewed Folger Theatre’s As You Like It, noting that I had seen eight productions or adaptations of Shakespeare, but what plays the productions all had in common is occurring in contemporary or familiar places, but not a single one in what I would consider a “classic” Shakespearean location. Now, with the Shakespeare Theatre Company’s production of Othello, currently onstage at STC’s Sidney Harman Hall, make it nine: six at STC and three at Folger, including two adaptations/updates, one at each venue. In this production, according to the program, the play takes place, in “a modern capital,” with the time designated as “now.”

Othello, the shortened name of what Shakespeare titled The Tragedy of Othello, the Moor of Venice, could well have been titled The Tragedy of a Handkerchief and the Jealousy It Engenders, for the whole plot could be summarized that way. That oversimplifies the plot a great deal, but it certainly isn’t incorrect. Othello revolves around the relationship of “the Moor,” by all accounts an upstanding general of the army, and Iago, a subordinate who has been passed over for a promotion. Iago is universally lauded by Othello and others for his honesty at every turn, despite what we know that the characters don’t. Iago wants revenge and plans to obtain it as soon as possible, so he commences a world-class plot to turn Othello against his newly-wedded Desdemona.

The play has almost always been controversial because of its inclusion of an obviously non-White character. Until the mid-20^th century, Othello was most often played by White actors wearing some form of makeup to make them appear Black, including the 1966 film starring Laurence Olivier as the Moor. And, in fact, the role has been undertaken by two of the most famous and prolific Black actors in American history: Ira Aldridge, beginning in  London  in 1825, and Paul Robeson, who played the role on Broadway in 1943 (Fophras well as in several previous and subsequent productions.) The two most recent productions were more noted for their box office receipts than the performances of the leads: Denzel Washington as Othello to Jake Gyllenhaal’s Iago in 2025 and James Earl Jones to Christopher Plummer in 1982.

The cast of Othello at The Shakespeare Theatre Company. Photo credit: Teresa Castracane.

The play itself indicates that it begins in Venice, where Othello has married Desdemona, the daughter of Brabantio, a Venetian official. Brabantio vows to stop the marriage, but Desdemona makes it clear her loyalties now lie with her husband, not her father. Othello is a “catch,” a decorated, highly-respected general. Ostensibly the only understandable reason that a man would object to his daughter’s decision to marry such a well-regarded and important soldier as her husband, must be his status as a non-Venetian, whether he is Black or not. The fact that he is Black emphasizes his “otherness.” Othello picks up on that reasoning, proudly proclaiming that he is Black.

But back to that handkerchief: it was the first gift Othello ever gave to Desdemona, which he later relates was bequeathed to him by his mother. Emilia, who is married to Iago and serves as Desdemona’s attendant, snatches it up when she sees Desdemona carelessly leave it behind. Emilia follows husband Iago with the handkerchief. Iago hides the handkerchief among the possessions of Cassio, intending to suggest that its presence among his effects is irrefutable evidence of an illicit affair between Cassio and Desdemona.

Iago pretends to be Othello’s trusted aide in order to exact his revenge for not being promoted, passed over for Cassio, whom Iago views as less experienced. Cassio, however, actually is Othello’s trustworthy subject, and he (previously one of Desdemona’s suitors), proves an easy target. Iago encourages Cassio to ask Desdemona to help him get reinstated, knowing that it will make it look even more convincing that something untoward is happening between Cassio and Desdemona, despite Desdemona’s recent marriage to Othello.

Wendell Pierce as Othello with Olivia Cygan as Desdemona and Ben Turner (background) in Othello at The Shakespeare Theatre Company. Photo credit: Teresa Castracane.

By the time Emilia realizes that Iago is using Desdemona’s handkerchief to drive Othello and Desdemona apart, it is too late. As characters attempt to score revenge on those who have wronged them, there is considerable blood spilled onto the stage (though the final “body count” is low, compared to Shakespeare’s other plays) by the ending. Some characters die who shouldn’t, and at least one who should die is wounded, but not mortally.

Although Othello is the title role, the actor playing Iago really has the longer role. In order for the play to “work,” there must be believable competition between the two characters. Othello proves too trusting of his subordinate, and Iago is a master manipulator with few (if any) redeemable qualities.

Those two roles should be performed by actors at the height of their powers, as they are in this production. In the title role, Wendell Pierce is the marquee attraction largely due to his television appearances in series including “Treme” and “The Wire,” as well as the current “Elsbeth.” Pierce made history as the first African American Willy Loman in his 2022 Tony-nominated performance in Death of a Salesman on Broadway. He is classically-trained (Juilliard) and has a lengthy list of theatre credits, including several Shakespearean roles. In interviews, Pierce has indicated that Othello is one of his “bucket list” roles. And while he no doubt has numerous memorable performances yet to give, this performance will most likely be at or near the top of his career. Pierce’s Othello is not always right or sympathetic, but he gives the character great depth, especially as we see him move from flirtatiousness as a just-married man to one determined to destroy his wife because he believes that she has been unfaithful, as orchestrated by his “friend” Iago.

Olivia Cygan as Desdemona with Melanie Field as Emilia in The Shakespeare Theatre Company's Othello. Photo credit: Teresa Castracane.

Ben Turner is not yet well-known, though he made a searing impression on me in April 2024 as Macduff in STC’s Macbeth, which starred Ralph Fiennes. As Iago, Turner practically oozes evil. We can see flashes of foreboding in some of the early scenes, where Iago is plotting his revenge, in his eyes and via a self-satisfied smirk. Clearly this Iago considers himself to be a hero, doing the country a favor through his misguided intent to rid it of this outsider. Turner’s is an entrancing performance.

Olivia Cygan imbues Desdemona with a steely yet winsome, almost ethereal quality from the beginning, resolutely denying her father her fealty, in favor of her husband. Melanie Field’s Emilia is almost a complete opposite to Desdemona, as well as worlds away from her recent appearances in STC’s The Wild Duck and Uncle Vanya. Giovanna Drummond has the play’s only other female role, that of Cassio’s “girlfriend” Bianca, and provides some needed comic relief as the story of the handkerchief becomes hers.

Lucas Iverson as Cassio takes part in some of those comedic moments, but more serious ones as well. Iverson’s Cassio demonstrates an eagerness to please, even as his world is crashing in front of him as “collateral damage” in Iago’s war on Othello. Todd Scofield brings an authoritative air to his role as Duke of Venice. Others in the first-rate cast include Jon Beal, Joey Collins, Derek Garza, Sofia Hernandez Morales, Claire Hilton, Anna Marzullo, Vish Shukla, Cole Sitilides, Daniel Velez, James Whalen, and Em Whitworth.

As always, STC’s artistic director Simon Godwin, draws outstanding work from his talented cast, and works harmoniously with each of his collaborators toward his unified vision. Godwin not-so-subtly underscores the military nature of a number of characters, as military uniforms often form all or part of a character’s costume, a military barracks is a setting, and occasional appearances by tightly choreographed precision marching. The work of scene designer Susan Hilferty, who also performs co-costume designer duties with Sarita P. Fellows, lighting designer Amith A. Chandrashaker, sound designer Christopher Shutt, composer Shiloh Coke, choreographer Jonathan Goddard, and fight choreographer Robb Hunter appear seamlessly coordinated.

Olivia Cygan as Desdemona and Wendell Pierce as Othello in The Shakespeare Theatre Company's Othello. Photo credit: Teresa Castracane.

Othello is not produced as often as some of Shakespeare’s other plays. According to an up-to-date web site titled “Shakespeare Plays Popularity Index,” Othello currently sits in 14^th place. Because it is not produced as often as “bigger” names (A Midsummer Night’s Dream and Hamlet lead the list), and especially due to the excellence of the performers, especially Pierce and Turner, and the laser-focused production concept, beautifully executed, audiences should take advantage of this production, which has already been extended through June 28.