It’s the Iago Show from The Woodward Shakespeare Festival in Fresno.
And it is the Iago Show, folks. Iago has all of the soliloquies in the show– Othello and a few others have some fine monologues– but Iago practically narrates the actions, most of which he controls or contrives.
And in this production, Miles Villanueva as Iago commands the stage with a deft and confident sexuality. His deliveries are clear, full of intent, and compellingly crafted. The audience simultaneously loves and hates him. They gasp every time he’s called ‘honest Iago’ but they can’t wait for him to get back on the stage every time he leaves.
Next to Villanueva’s swift and easy performance, James Taylor’s Othello feels little more than a supporting role. Taylor has excellent articulation, but in the first act it seems swathed in the layers of moorish clothing he’s wearing. When in Cypress, he’s a bit freer with his characterization but suddenly it grows into a mountain of screaming lines as Othello becomes more and more jealous and suspicious of his wife’s loyalty. Mostly, though, Taylor does not yet have the gravitas to really carry Othello as a significantly dangerous general with a sea of emotions overtaking him. It’s a bit like watching Cuba Gooding, Jr play Othello. He’s a fine actor, but his chops are a bit limited yet.
A surprise for me was Danielle Jorn as Desdemona. For one so young, she took on the role with aplomb. She plays the noblewoman quite well, with a dignified joviality and generosity becoming the part. As her maid, Emilia, Jaque Babb is a bit milquetoasty until her pivotal monologue. Her execution of the final scene confronting Othello on his murder of his wife is excellently driven– all cylinders firing exactly when they’re supposed to.
Two other immensely enjoyable actors in this production are Brandon Lindner and Elliot Montgomery. Lindner has a swagger and upright charisma that really suits Cassio well. And Montgomery’s Roderigo is a character at the mercy of Iago, even when he doesn’t know it. He balances the ridiculousness of the character with a real empathy that keeps Roderigo from being a cartoon character.
As for the design concepts, the WSF set is coming along. Director JJ Cobb added a simple rolling platform from behind doors to differentiate a few indoor scenes. The set, however, still looks flat and unfinished to me– even with the excellent stonework painting on the floor and in the porticos. The lighting gave the set a sunburnt wash that’s appropriate, although the actors were occasionally speaking in the dark parts of the stage for reasons I couldn’t understand.
The costuming by Debora Bolen held such promise during the first act. The men, overall, looked fabulous in their 16th century attire (a few of them need hosiery under their venetian breeches to keep skin from showing, but hey. . . ) The ensemble for the Doge of Venice was impeccable and overall her fabric choices were impressive. The two real distractions were the out of proportion bumrolls on the noblewomen (they needed to be tamed) and Bianca’s mish-mash of an ensemble.
The direction was tight and solid. Good, straightforward Shakespeare, with little artiness to it. Except for the metaphorical, pantomimed hankie. In such a realistically staged production, that popped me out almost as much as the bumrolls.
All in all, I highly recommend the show. My gripes about it really are persnickity stuff on the whole. This production has taken WSF to the logical next level in their company growth. You’d do well to witness it as it develops.
(originally published June 30th, 2007)
