Lara Foot’s Othello recently played at the Baxter. It is also on stage at this year’s Toyota Stellenbosch Woordfees. The play was discussed as part of the Advanced Text and Performance Analysis at the Drama Department of Stellenbosch University. A few students from Annel Pieterse’s class shared their reviews. Below is the review of Merwe van der Gent.
A bold reimagining of a classic tragedy
Lara Foot’s adaptation of Shakespeare’s Othello presented at the Baxter Theatre Centre offers a compelling reimagining of this classical tragedy, set against the historical backdrop of German-colonised South West Africa during the Herero Uprising in the early 1900s. This setting provides a potent context for exploring the themes of manipulation, betrayal and racial injustice, which are central to the play, offering a fresh perspective on Shakespeare’s work while challenging the audience to reflect on the historical and contemporary issues of colonialism and racism.
On 9 April, I had the privilege of witnessing Foot’s captivating adaptation. The play opens with a stark, visually arresting stage, designed by Gerhard Marx, where the elements of colonial Africa are both haunting and evocative. The set is minimalist yet powerful, using floating branches and jagged rocks to symbolise the turmoil and disruption of both the land and its people under colonial rule. This imagery sets the stage for a narrative that is as much about personal betrayal as it is about the exploitation and oppression of one culture by another.
Atandwa Kani’s portrayal of Othello is nothing short of magnetic. Kani brings a profound depth to the character, capturing the complexities of a man torn between his noble stature and the vulnerabilities that lead to his tragic downfall. His performance is both nuanced and intense, ensuring that the audience can empathise with Othello’s internal and external conflicts. The chemistry between Kani and Carla Smith, who plays Desdemona, is palpable. Smith delivers a delicate balance of strength and fragility, making her character’s innocence and tragic fate all the more poignant.
Albert Pretorius’s interpretation of Iago is equally formidable. In this production, Iago’s malevolence is less about cold calculation and more about overt brutality, a reflection of the colonial mindset. This portrayal challenges the traditional depiction of Iago as a purely manipulative character, instead presenting him as a direct agent of chaos and destruction, mirroring the violent realities of colonialism. Pretorius’s performance is compelling, as he imbues Iago with a sinister presence that is both riveting and disturbing.
Supporting roles add richness and variety to the production. Carlo Daniels’s Cassio is charming and earnest, providing a stark contrast to the darker themes explored through the main characters. Meanwhile, Wessel Pretorius brings an unexpected levity to the role of Roderigo, infusing the production with moments of humour that underscore the human aspects of this political and psychological drama.
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Lara Foot’s direction in this adaptation of Othello expertly weaves historical context with Shakespeare’s text, creating a multilayered narrative that speaks powerfully to contemporary issues.
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Faniswa Yisa as Emilia particularly shines, offering a fresh take on the character that goes beyond the traditional confines of the role. Her Emilia is bold and insightful, challenging not just Iago but the societal norms that bind her. This Emilia is a symbol of resistance, her narrative arc adding a layer of decolonial critique to the play, emphasising the role of women in the struggle against oppression. The production is a profound reflection on history, power and identity, portrayed through stellar performances and a thought-provoking reinterpretation of a classic.
Lara Foot’s direction in this adaptation of Othello expertly weaves historical context with Shakespeare’s text, creating a multilayered narrative that speaks powerfully to contemporary issues. Foot’s directorial choices highlight the insidious nature of colonialism and racism, using these themes to deepen the emotional and psychological complexity of the characters and their interactions.
The innovative use of lighting and sound in the production further enhances the dramatic tension and thematic depth. Patrick Curtis’s lighting design is a critical element of the storytelling, particularly in how it plays with shadows and brightness to reflect the shifting dynamics of power and sanity. This lighting not only illuminates the characters’ psychological states, but also symbolises the larger political and cultural shifts occurring around them. Similarly, the soundscape, crafted by Kyle Shepherd, integrates traditional African music with classical elements, thereby enriching the historical setting while underscoring the emotional arcs and cultural clashes that drive the narrative.
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One of the most striking directorial decisions is the breaking of the fourth wall, particularly during crucial moments of Iago’s manipulation and Othello’s descent into jealousy and rage. This interaction engages the audience on a visceral level, making the themes of manipulation and prejudice even more impactful.
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One of the most striking directorial decisions is the breaking of the fourth wall, particularly during crucial moments of Iago’s manipulation and Othello’s descent into jealousy and rage. This technique not only implicates the audience in the unfolding drama, but also serves as a powerful reminder of the play’s relevance, asking viewers to consider their roles in perpetuating or challenging systemic injustices. This interaction engages the audience on a visceral level, making the themes of manipulation and prejudice even more impactful.
Additionally, the relationship between Iago and his wife, Emilia, especially with the casting choices, brings a nuanced discussion on interracial dynamics and the fetishisation of black bodies within the narrative framework of colonialism. This aspect of the production not only adds layers to the characters’ motivations, but also offers a critique of historical and contemporary racial stereotypes. The complexity of their interactions highlights the broader themes of power and exploitation that are central to the play’s setting.
Foot’s adaptation also excels in its detailed attention to costume design, which, while seemingly a background element, plays a significant role in storytelling. The costumes, crafted with historical accuracy mixed with theatrical flair, visually denote class distinctions and cultural collisions. They serve as yet another layer of narrative that speaks to the characters’ identities and their societal roles, further emphasising the colonial backdrop and its impacts.
In conclusion, Lara Foot’s Othello is a masterful reimagining that not only stays true to the emotional and psychological core of Shakespeare’s work, but also enhances its relevance with poignant social commentary. The production’s strength lies in its ability to intertwine the personal with the political, making a centuries-old play resonate with modern audiences grappling with similar issues of race, power and betrayal. It is a testament to the enduring power of Shakespeare’s works when they are reinterpreted with such vision and sensitivity to their potential for contemporary relevance.
As the curtain falls, the audience is left to ponder the intricate dance of characters manipulated by Iago’s machinations and the broader historical forces at play. This production of Othello offers an unparalleled opportunity to engage with one of Shakespeare’s greatest works through a uniquely South African lens. The show ran at the Baxter from 6 April to 4 May 2024.
Book tickets for Othello at the Toyota Stellenbosch Woordfees here (https://woordfees.co.za/en/program/othello/).
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