Summary
THERE'S never been anything black and white in Shakespeare's racially charged tragedy. Why, exactly, does Iago embark on a relentless campaign to destroy Othello, the Moor general whose military skills have led to fragile acceptance among the Italian army, overriding his elopement with Desdemona? Is his motivation simply anger at being passed over for promotion in favour of Cassio? Or is it a nastier, more ingrained prejudice against Othello's foreigner-made-good status?
Watching Guy Hollands's production, it's hard not to be influenced by last week's exposure of little Britain's true colours on national television. Hollands's black-shirted troops resemble Italy's front-line police force, the Carabinieri, while Andy Clark's terrier-like Iago sports a severe Nazistyle haircut. Iago plants his seeds of hate, not by rabble-rousing, but with the quiet persuasiveness of a barrackroom operator. Desdemona's father, Brabanzio, talks hysterically about his daughter being corrupted by witchcraft. They come over here, taking our jobs and stealing our women ... may as well be their mantra.See the full content of this document
Extract
Othello, Citizens' Theatre, Glasgow 3/5 Theatre
It's the women, though, who reflect so...
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