Passion and Jealousy, Ambition and Betrayal
A monumental masterpiece, Shakespeare's Othello portrays a universal set of powerful emotions in life: jealousy and its destructive force. The tale portrays an evil man and a man capable of both tenderness and rage, trust and distrust, whose doubts of his wife's fidelity lead to shocking consequences.
A rousing start for the beginning of the landmark citywide festival "Shakespeare in Washington," January to June 2007, American Ballet Theatre--under the artistic direction of Kevin McKenzie, presented Lar Lubovitch's "Othello" at The John F. Kennedy Center for the Performing Arts. The Festival has scheduled more than 100 performances or other events by more than 60 arts groups.
Seeing his first professional dance concert in the early 1960s, the José Limon Dance Company's 1949 distillation of "Othello," "The Moor's Pavane," Lubovitch had an epiphany. From being a University of Iowa art student who dabbled in gymnastics, he went to New York and became a dancer, founder of his own company in 1968 and celebrated choreographer.
And in 1997, modern dance master Lubovitch created his own vision of the interplay of passion, ambition, betrayal, deception and gullibility that tragically enveloped Othello and Desdemona in Shakespeare's Othello. A compelling synthesis of classical and modern movement, Lubovitch's original choreography, which debuted in 1997, was broadcast throughout the United States on PBS's "Great Performances" and then nominated for an Emmy Award.
Shakespeare's 1604 edition of the classic tale of Othello has inspired many dance productions over the centuries. For example, there were 20th-century ballets by Serge Lifar, Vakhtang Chaboukiani, Jacques d'Amboise, John Butler and Kirk Peterson. However, Lubovitch discovered that Shakespeare had found the story of The Moor, a North African officer in the Venetian army, in the writings of the 16th-century Giraldi Cinthio novella. This is where Lubovitch began his choreography. He wrote out the scenario that takes place in the 15th century and then sorted out scenes, acts and what could be told in images.
Lubovitch's "Othello," in three acts, is complemented by a powerful score by Elliot Goldenthal that heightens the emotional volatility of the central characters as the ballet's tragedy unfolds. Wendall K. Harrington's stage-wide and high projections, George Tsypin's elegant towering set with ornate cathedral, palace interior with translucent glass "marble" columns that reflect the dancers, and bedroom with glass bed and sculpture; and Ann Hould-Ward's rich colorful costumes enhance the dancers' visual impact.
American Ballet Theatre's production in DC had three different casts, of which I saw two. Excellent dancing, emotionally authentic acting and audience standing ovations at curtain call marked these performances.
The curtain opens on Othello, a noble Moor and general in the service of the Italian state. He is downstage kneeling and creating dramatic designs in space with outstretched arms and hand gestures. In Act I, Othello marries his beloved Desdemona in a cathedral in Venice. Witnessing their vows and celebration are Iago, Othello's aide, and his wife Emilia, lady-in-waiting to Desdemona. At Othello's side is his young lieutenant, Cassio, recently promoted above Iago. Tormented by his obsession with Othello's power and embittered by his own lack of achievement, Iago appears angry, tense, sullen and ominous. He dances with abrupt, percussive angularity and harshly pushes Emilia away as she tries to calm him. As they dance, he lifts her by the neck. Eventually he seeks comfort, his head in her lap.
The wedding celebration moves to the Palace of the Doges where Italian peasants in colorful costumes and slippered flexed feet entertain. A group couples dance eerily portends tragedy as the men grasp their partners necks. Othello gives Desdemona a precious rare lace handkerchief as a special gift.
Act II: It's a stormy night captured by Harrington's projection of the sea, lightning and even a ship at full mast. The wind sweeps female dancers, with their hair loose and dresses blowing, back and forth across the stage. In Cyprus, Othello, now commander of its isle fortress, has prevailed in a battle at sea. He had entrusted the care of Desdemona to Cassio. They await the ship's return and celebrate the victorious homecoming as the storm abates and a sunlight projection bathes the stage. Upon the ship's arrival, sailors pull heavy mooring ropes cross the stage that hang high above the celebrants. Othello greets his beloved. Bianca, a local woman, dances a tarantella, urging all to join her. In the fever of the dance, Desdemona drops her handkerchief. Emilia retrieves it. But Iago snatches the handkerchief from his wife and enlists Bianca to dance past Othello waving it. When the Moor demands to know where she got the handkerchief, she points to the drunken Cassio. Iago whispers to Othello that his wife was unfaithful with Cassio.
Act III. The guards bring Cassio to Othello's chamber to explain how he got Desdemona's handkerchief. Iago viciously pushes and mockingly kicks him. After the uncomprehending youth is dragged away, Iago, now empowered, further weaves the falsehood to Othello of how the relationship between Desdemona and Cassio unfolded behind his back. An antagonistic, jousting duet ensues between Othello and Iago. Iago taunts Othello, jumps on Othello like a monkey on his back.
When Iago withdraws, Othello dances a heart-rendering, anguished solo. Consumed by jealously, he holds the handkerchief, pummels his chest and falls to his knees. A terrified Desdemona unsuccessfully tries to soothe him.
She prepares for bed with Emilia's assistance. Othello enters and demands Emilia leave. He alternates radically between tenderness and sudden fits of grief toward Desdemona. Finally, in a rage, he twists the handkerchief around Desdemona's neck, kissing her as he strangles her to death.
Iago rushes in with Emilia and several guards. In her hysteria, Emilia grabs the handkerchief out of Othello's hands and points accusingly at Iago. Othello immediately realizes his tragic error. Iago draws a dagger from his belt and stabs Emilia. Othello wrests the dagger from Iago and runs toward him. He freezes as he is about to strike. Suddenly he thrusts the blade into his own chest.
In choosing dancers for his work, Lubovitch looks for men and women with imagination "dancers who show back more than we show to them, who know how to invest movement with meaning so I can mine it for greater depth than I can do on my own." He creates new work and modifies choreography he has completed.
In the role of Othello, Marcello Gomez was a regal partner and fiery agonist to the lithe, delicate Julie Kent as their duets were filled with Lubovitch's unique swirling lifts that create large arcs in space. Sascha Radetsky as Iago was so scheming and villainous that the audience booed him in acclaim at curtain call.
As Othello, ABT guest artist Rasta Thomas's mesmerizing virtuoso dancing displayed intense emotion. His elevation, extensions, whip lash turns, quickness and drawing out a movement made palpable the Moor's yearnings and passions. And the audience gave him a standing ovation, along with Carlos Lopez as Iago, Herman Cornejo as Cassio, Xiomara Reyes as Desdemona, Maria Riccetto as Emilia, and Sarawanee Tanatanit as Bianca..
The gripping, unnerving interpretation of one of Shakespeare's greatest tragedies through the language of dance pays homage to dance and to the bard. Indeed, the dancers excelled in conveying the emotional volatility of the characters' dramatic passion and pathos.
*Hanna's most recent book is Dancing for Health: Conquering and Preventing Stress.