Abraham Popoola Othello Ghazwan Alsafadi Montano and Christopher Bianchi Duke of Venice Gratiano. Photo: The Other Richard
Othello (Abraham Popoola) and Desdemona (Norah Lopez Holden) are getting married in secret. It’s a Muslim ceremony and Desdemona has learned the Arabic vows. Once the ceremony is over Othello swaps his Muslim prayer beads for a crucifix in a symbol of his public vs private self and an inner conflict to come.
His Othello has a presence from the outset. In a brilliantly nuanced performance he is a noble warrior – a leader who has earned respect – and a man bowled over by passion and love and not afraid to show it. Norah Lopez Holden is a young, spirited, fun and witty Desdemona who has captured his heart. There is an ease and playfulness in their relationship which makes the early lines that hint of what is to come land all the harder.
Speeding the lovers on their way to tragedy is Mark Lockyer’s superb Iago. It is a performance that exudes from every eyebrow twitch, gesture and look – even when he has his back to you (it is staged in the round) his body language speaks volumes. And yet this Iago isn’t played as comedy villain, a Machiavellian rubbing his hands together with glee; I’ve seen actors play Iago's lines for laughs, Lockyer plays them straight, any mirth contained in them is entirely on the audience to find.
His Iago is reasonable and contained, convincingly earnest, his true feelings burst out of him in private temper, soothed only by plotting. With those he is trying to dupe he comes across as quite ordinary and trustworthy which makes him so effective - and so dangerous. While Iago can contain his true feelings in public, Othello can't. His public displays of affection towards Desdemona are easily channelled into pride, self doubt and jealousy. As comfortable as he is with his affection for Desdemona it, ironically, is his Achilles heel in his battle for self control.