Food for Groundlings’ Othello is a labor of love attesting to how the region’s small companies do much with a modest resources. Shakespeare is about the human journey of the characters in stories told with words, not spectacle. This play, believed to have debuted in 1604 in London’s Globe, is timeless for its deep cut to some of the strongest motivators of the spirit–love, ambition, and perception. As they say, perception is everything and sometimes, alas, the truth can be hidden behind blatant lies. No, Othello did not check his facts.
Jonathan Heidenreich, company founder, adeptly stages this text-driven Othello in the intimate and well-equipped Community College of Allegheny County South Campus Theatre. His clean direction and wise choices support storytelling and Othello’s tragic transformation from happy newlywed to a wildly jealous husband. Heidenreich employs the entire theatre, taking advantage of unlit spaces to reinforce the darkness and light within the story, including the suspicion shown by some of Othello, the Moor of Venice, as “the other” and the duplicitousness of his closest adviser, Iago.
In theatre, there are roles to covet and roles to possess. Othello is one of those roles. When an audience is present to share in an actor’s possession of a milestone role, it’s a joyful exchange. Such is the performance of Parag S. Gohel as Othello. Simply put, catch Gohel’s performance to see this committed and passionate actor immersed himself in a role that for some is a once-in-a-lifetime experience. Here, Gohel excels throughout, turning in a performance worthy of study by young actors. Audience members who know the play will recognize his superb craft while this show provides a wonderful introduction for those who are new to the Shakespeare canon.
Gohel says that when he first played Othello as a student at the University of Pittsburgh, he wondered if he would ever have the opportunity to play the part further into his career. Now, his deep connection to the moments comprising the role suggests he is indeed savoring the chance to embody this military man who loves well but makes some very dangerous assumptions about his wife’s faithfulness. Gohel’s shines in his soliloquies and especially in his interactions with his wife Desdemona and Iago. His performance is the glue of the production and the fuel for the other performances. Once he appears on stage, the company rises and grows with the trajectory of his story.
Brendan Karras conveys heartless ambition as the scheming Iago. Growing into his intent and cool vivaciousness throughout the opening night performance, Karrass is another regional actor to watch. Whether detachedly watching the outcomes of his machinations or boldface lying to virtually all of the other characters, Karrass captures the duality of Iago, shifting seamlessly from friendly advocate to conniving villain. His advice “O, beware, my lord, of jealousy; It is the green-eyed monster” is the ultimate deception; his very warning to Othello is his very wish.
Sean Lenhart is a stalwart and well-spoken Michael Cassio, the trusted captain whose reputation is ruined by Iago’s goading. Lenhart shines in this pivotal role from his impassioned pleas for forgiveness to drunken street altercations.
As innocent Desdemona, Dana Demsko is spunky and energetic–not a placid pawn. Demsko brought a fresh charm and clear intent to her attentiveness and love for Othello. It makes the deception leading to her death at his hands even more poignant.
Her attendant, Emilia, who is Iago’s wife, is played by Kaitlin Baker Kerr who brings a fierce devotion to Desdomona in the second half.
As Rodrigo, Robert Tramontina brings solid support and essential action as a cog in Iago’s tragic wheel. Drawn into the plot by his own desire for Desdemona, Rodrigo is shown to be willing and aware of his intent.
Overall, the cast of diverse ages is committed and brings a wide range of classical experience to their work. It will be interesting to watch some of the younger players evolve not only during this production, but in future roles. Here, the drain of opening week preparations was bit obvious with some challenges in volume for some and minor glitches. Now that they can focus on telling the story, the text should continue to drive them in this well-crafted production. Certainly the pace will tighten even further with any opening-night jitters ironed out.
Providing more essential and solid support are: Eric Mathews as Montano: Andrew Nesky as Desdemona’s father, Brabantio: Marisa Postava as Bianco and Brabanio’s attendant; Justin Kofford as Lodovico, a relative of Desdemona; Julie Elizabeth Beroes as Gratiano; Sam Shea as The Herald; and Ashley Darr as The Duke.
The action spans a course from Venice to the coasts of Norse Scandinavia, centered on Conrad Queen’s clever set. A ship’s prow points upstage, easily splitting open into a dual-ramped V for varied scenes. Within and before it, scenes are played efficiently and with minimal set-changing fuss. A playing area with simple boulders is downstage, providing a spot for much action (with the central piece as background) and those important solo confessions to the audience.
Doubling as lighting designer and stage manager Rebecca Burkett lights the central areas, utilizing some splashes for entrances and bits played in the house. Again, the dark spots are hand for playing our dark deeds and thoughts. Properties by Sam Shea are well-selected with working props placed thoughtfully on the set, including hand weapons and a collection of shields on both sides of the proscenium.
Music design evokes the setting with Norse folk music with Scandinavian instruments and vocals woven with storm effects by sound technician Bill Linn. The show’s lovely aural throughline carries from the opening wedding prologue to the closing scene.
Tonya Lynn, fight director, stages compelling and even deadly altercations that are well-executed and believable. From the street brawls to the final evil machinations within the Othello’s home, her fight action is spot on.
Costumes by Medieval Collectibles support a universal and period look despite a few minor inconsistencies. The women sport lovely hair and jewelry accents, as to some of the male leads. Some make-up effects add to the indigenous flavor.
Heidenreich’s team also includes producer’s Dave Flores and George Jaber.
Food for Groundlings’ Othello performances running Sat. and Sun., Aug. 10 and 11 and again on Fri. and Sat., Aug. 16 and 17, doors open at 6:30 p.m. and performances begin at 7:00 p.m. Bring lots of friends as tickets for general seating are only $10 at the door (cash only).
Concessions (soda and snacks) and merchandise from local artists are available at the show. Campus parking is ample and free–follow the signs to park across the street from the CCAC South Campus Theatre, 1750 Clairton Road, West Mifflin (15122). For more information, call 412.337.9769.
Yvonne Hudson, a Pittsburgh-based writer, publicist, actor, and singer, joined PITR as a writer and adviser in February 2016. She began performing and writing during high school in Indiana, PA. The Point Park journalism grad credits her Globe editor for first assigning her to review a play. Yvonne is grateful to Dr. Attilio Favorini for master’s studies at Pitt Theatre Arts, work at Three Rivers Shakespeare Festival, and believing in her Shakespearean journey. When not working with nonprofits, this lifelong chorister sings with Calvary UM Church’s annual Messiah choir. Having played Juliet’s Nurse for Pittsburgh Shakespeare in the Parks, Yvonne is now seen in her solo shows, Mrs Shakespeare and Emily Dickinson: The Poet Lights the Lamp. Goals: See all of Shakespeare’s plays in production and memorize more Sonnets. Fave quotes: “Good deed in a naughty world,” “Attention must be paid,” and “A handbag?” Twitter @msshakespeare Facebook: PoetsCornerPittsburgh LinkedIn
Categories: Archived Reviews