Othello Production

The production, adapted from Shakespeare and directed by Foot, made its debut at the Düsseldorf Schauspielhaus in Germany last year and earned her the Gustaf Theatre Award 2023 for Outstanding Artistic Achievement for the Direction of Othello. However, whenever traditional Shakespeare is performed through the lens of modern culture, it can be controversial. This was the risk taken by Lara Foot in her highly acclaimed production of Othello. It is a South African interpretation of the classic Shakespearen play, and is performed in English, isiXhosa, and Afrikaans. While this added a lot of depth and emotion, it was confusing for all those in the audience who didn’t speak all three languages. This use of language was, however, useful in some scenes, as it added a comedic side to the otherwise serious story due to the sudden change in tone and dialect. 

Moreover, Foot’s Othello was relocated to the time of German-colonised South West Africa at the end of the 19th century, instead of Venice as in the original. The simple yet effective set and similar plot line as its Shakespearean counterpart made this easy to understand. It did make sense in the context of the aims for this play (mainly de-colonialism), however for those of us who are Shakespearean purists, the adjustment takes a little getting used to.

The cast was astounding, all showing amazing depth of character which helped to make this play so engaging and heart wrenching. Gerhard Marx’s set and costume design as well as Patrick Curtis’ lighting design are inspired. The floating branches and rocks are particularly effective demonstrating a world going to pieces: where nothing is as it should be and Othello’s grasp of reality hangs in the balance.

In Foot’s production, Iago was played by Albert Pretorius. In Othello, Iago plays a pivotal role as the puppet master and wicked genius. Compared to his persona in the original, Iago adopts a far more overtly villainous demeanour in this performance. He is willing to get his hands dirty. I am conflicted about this new Iago. Do not misunderstand me. I recognize the need for it, particularly if we use Iago as a symbol for the historical—and frequently ongoing—violence associated with racism, colonialism, and white supremacy. At the same time, I believe that Iago’s capacity to manipulate without actively participating is what makes him such a successful antagonist; he uses a proxy to accomplish his goals. However, this is not always the case in the play. 

Despite the changes that Lara Foot’s adaptation of Othello introduced, whenever Shakespeare is performed it is well worth watching. The play continues at the Baxter until the 4th of May 2024. 

-By Jemma

Photos by Retaya and Dr Du Plessis