Cape Cod Community College Does Credit to "Othello"

As with many tragedies, “Othello” is really not so much a story about the hero – but a story about the villain. Vana Trudeau’s production of “Othello” at CCCC’s is no exception to this rule, and despite her unique decision to cast a woman in the role of Othello, the show really does revolve around the strange and frightening descent of Iago into his own personal hell.

As other reviewers have noted, the choice of casting a woman as Othello makes a surprisingly small difference in the overall play. The differences that do appear, however, are quite understated and effective. For example, Iago’s protestations that he “loves” Othello take on a possible double meaning, as do Othello’s suspicions that her wife has been with another man. The direction, however, does not harp on these subtleties, and the result is a very classic rendition of the play.

The CCCC’s production is largely an educational project, and the lion’s share of backstage and onstage work was done either by students or faculty.  Perhaps as a result, the cross-gendered casting was not the only innovation: the show also included an original sound track, created by Marc Thalasitis and Daniella Saada, intended to underscore the mood and action of the characters. This technique, in general, was very effective, though it occasionally distracted attention from the actors.

Another impressive addition by set designer Evan Haussman was a working fountain in the “gardens of Cypress.” Of course, the fountain runs only for a portion of the show; the director explains that running water elicits a certain physical response among actors and audience members! Lighting, too, by David Fenn, was well done, particularly in a scene during which Iago, now truly demonic, stands behind Othello in a red spotlight and convinces her to murder her lover.

It’s not easy to find a large number of people who can work well with Shakespearian English and drama, but all of the leads and at least a few of the supporting cast did a wonderful job. Stand-outs include Dan Groves as Iago, whose clean-cut appearance belies his increasingly pathological desire to manipulate and destroy the people around him. It is easy to believe that the characters around Iago are taken in by his charm; he really does come across as charismatic yet demonic. What’s perhaps just as impressive is his ability to get a laugh out of the audience as he reflects on the credulousness of the people around him.

Rebekah Terkelson, in the female role of Othello, is very convincing in the part throughout almost the entire show.  Particularly impressive are her body and facial language: it is easy to believe that she is a leader; that she is a loving “husband;” that she is by nature both trustworthy and trusting; that she is unwillingly drawn into jealousy. As the play moves toward its inevitable end, however, it becomes more difficult to believe in Othello’s despair. It’s hard to achieve a believable transition between skepticism and angst.

Keirnon McDermott as Roderigo does a terrific job of presenting a man who, though passionate, is not precisely the sharpest knife in the drawer.  His facial expressions are priceless in the first few scenes, and his body language as he agrees to kill off Cassio (Tom Mescall) helps the audience get past the unlikeliness of that particular plot point. “If Iago says it’s okay,” Roderigo expresses through face and body, “I’m sure it’s a good idea, though I have no clue why!”

Cailey Kilpatrick as Desdemona is extraordinary. Her physical presence is striking: in every movement of face and body she convinces the audience that she is lovely, trusting, kind, and – above all – desirable. Of all the actors in the play, she is the most believable during the very difficult last few minutes. Her expressions of sudden realization, horror and fear are almost enough to carry the scene on their own.

There are a number of supporting roles; standouts include Caitlyn Geiler as Emilia (Iago’s wife) and Dillon O’Connor as Desdemona’s father. Both provide solid characterization and a good ability to handle Shakespeare’s English, helping the audience to suspend their disbelief and simply “live” in Othello’s world for a few hours.

Othello is being performed Thursday, November 3 at 7:00pm - November 20 at 2:00pm at the Black Box Theater at the Tilden Arts Center in Barnstable.  Tickets are a mere $10 for general admission, $5 for students. For more information, call the CCCC Box Office at 508-375-4044 or visit www.CapeCod.edu.

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