Steadstyle Chicago
	February 2008 Theatre Review by Randy Hardwick
	Looking for a Ticket Broker? Check out the hottest broadway tickets from Gotickets.com Othello Critical Evaluation: **** out of **** (Left) Derrick Lee Weeden and Paul Niebanck; (Right) Weeden and Allison Batty; (Below) Batty and Lesley Bevan in Chicago Shakespeare Theater's production of "Othello".  Photos by Steve Leonard. When I walk into Chicago Shakespeare Theater, I have high expectations.  Everything about the place says first class and there is an implied promise of the very best that classical theatre has to offer.  CST theatergoers expect nothing less.  The current production of Shakespeare’s "Othello" delivers on that promise at every level. There are so many things to like about this "Othello" that it is difficult to know where to begin.  The obvious spot is Othello himself, so let me start there by acknowledging that CST newcomer Derrick Lee Weeden is the best Othello that I have seen.  His voice is so smooth and powerful that a blind man would love this show only for hearing Weeden speak the lines.  But Weeden also has the character of the deceived and delusional Moor down pat.  Through the course of the play we see him move from admired war hero to tormented murderer as his isolation leads him into doubting Desdemona and ultimately to the self-hating hell of doubting himself.  Director Marti Maraden’s concept of Othello is clear and Weeden delivers his part.  Othello is an outsider, a pretender who could never be otherwise.  Despite promises to the contrary, his marriage and happiness were doomed from the beginning.  It is truly tragic and it all makes sense. Maraden’s vision is carried forth in the character of Iago (Paul Niebanck) as well.  A central need to having an intelligible Othello is knowing what drives the evil Iago to such incomprehensible villainy.  Maraden makes clear that it is hatred of the Moor, pure and simple.  Iago’s lust is not aimed at taking the place of Othello’s lieutenant Cassio (Sean Fortunato), but at the absolute destruction of the black-skinned general whose ascent to prominence and marriage to the daughter of a Venetian senator are unnatural and bestial.  Niebanck’s understated Iago is brilliant.  Who would suspect that the blackest thing in Cyprus is heart of the Gatsby-like ensign?  He smiles and wheedles all about him, but there’s something not quite right.  There is a hiss in Fortunato’s delivery that belies the villain’s façade. Another choice of Maraden’s that I thought both interesting and illuminating was the subtle shifting of the time of the action.  The show is completely loyal to Shakespeare’s geography and historical setting in Venice and Cyprus, but Maraden has chosen to use Edwardian costume and manner to present the characters.  This shifting of time to a more recent past rather recreates the perspective that the audience in Shakespeare’s day would have had and it brings the racial bigotry that is central to Maraden’s presentation into focus.  The Elizabethans would have identified with the roots of racial hatred through shifting views of Africans and Muslims in their own past.  To understand the connection of the Edwardian period to the present moment, one must look no further than to the production history of "Othello" in the United States.  A hundred years ago could we have seen a black man on stage embracing a white woman?  The Edwardian touch may be seen by some as a trend that is simply in vogue, but in my view it added tremendously to the cohesiveness of this brilliant production.  Marti Maraden rocks.  It is little wonder that she was recently named artistic director at Canada’s esteemed Stratford Shakespeare Festival. CST’s "Othello" is rounded out by a fine supporting cast that includes exceptional performances from Allison Batty as the virtuous Desdemona and Lesley Bevan as Iago’s wife, Emilia.  Patrick Clark’s Italianesque set is elegant and functional and is harmonious with Christina Poddubiuk’s stylish costumes.  The technical aspects of the show are first rate and theatre goers will not miss a word in the acoustically perfect CST space. "Othello" will continue through April 6, 2008 at Chicago Shakespeare Theater, 800 East Grand Avenue on Navy Pier.  Performances are Tuesday, Wednesday, Thursday and Friday evenings at 7:30 p.m., Saturday evenings at 8:00 p.m., Sunday evenings at 7:00 p.m.  Matinees are Saturday and Sunday at 3:00 p.m. and Wednesday at 1:00 p.m.  Tickets range in price from $54-$70 and are available at the box office, by phone at 312-595-5600 or online at www.chicagoshakes.com. About Randy Hardwick Randy Hardwick is an educator and sometime theatre critic.  He is a former member of the Drama Critics' Circle in Denver, Colorado where he published several entertainment related magazines and hosted The Heavyweights of Gambling, a weekly radio call-in show about casino gaming.  During the 1980's Randy was president of Tracks International, a nightclub chain renowned for its high-energy clubs in Denver and on the East Coast.  Hardwick first came to Chicago in 1999 and recently returned to his beloved Rogers Park neighborhood following three years of teaching at a university in Mexico.   CST's Othello is Time Well Spent Review by Alan Bresloff It is not often that one can sit for over three hours in the theater, but the latest production of "Othello" at Chicago Shakespeare Theater on Navy Pier moves so swiftly it doesn't even seem as though the production takes this much time to tell this glorious story.  This "tragedy" is one that deals with bigotry and deception, of jealousy and hate as well as love.  As is the case with many of the productions at CST, "Othello" is moved in scene and time but the story is still the same.  Othello is a general in the service of Venice.  He is the only Moor (Black skinned) in this position and has wed Desdemona, the daughter of a senator.  When he promotes Cassio to be his lieutenant, Iago, who had expected this position is enraged and sets his goal to the destruction of Othello.  Othello figures that he has earned the right to be a part of Desdemona's world, but as the story evolves we find that he is still the outsider, not because of who he is but due to the color of his skin. Directed by Marti Maraden (Stratford Shakespeare Festival's Artistic Director) with a solid cast, this production moves quickly and is a fine piece of story-telling.  Derrick Lee Weeden is a strong Othello and he plays well off Allison Batty's Desdemona.  Paul Niebanck handles Iago with style and grace and Sean Forunato really shows his acting range with his portrayal of Michael Cassio.  Leslie Bevan deftly handles Emilia and Ginger Lee McDermott is Bianca, the love of Cassio's life.  John Hoogenakker handles some of the comic relief as Roderigo and the rest of the ensemble  is all top notch.  The fight direction by Robin McFarquhar is perfection and the music by Marc Desormeaux adds just the right touch.  This is a sterling production and for those who fear the works of Shakespeare, this one is easy to understand despite its length.  Not a moment is wasted and each moment and scene leaves you wanting more. Marti Maraden Paints a Stunning Othello Critical Evaluation: *** out of **** by Ruth Smerling The Stratford Shakespeare Festival held annually from May to November in Stratford, Ontario, Canada, just outside Toronto is one of the world’s great theatrical events.  From spring through autumn the entire town opens its quaint and aesthetic doors to welcome theatergoers from around the world to enjoy works by Shakespeare and other great playwrights who have works of classic timbre.  A weekend in Stratford, a town with three elegant theatres, a brilliant art museum, and numerous mansions converted to B&B’s and a lake populated by graceful swans, is as glorious as visiting Las Vegas, Disneyworld or Broadway.  But Stratford has no neon signs that glare at you or spectacular architecture or hoards of people knocking you off the street.  Stratford energizes you with old world charm and sends you home rooted in a sense of history that is enriching.  "Othello", on stage at the Chicago Shakespeare Theatre is a rare treat, directed by Stratford Shakespeare Festival Artistic Director Marti Maraden.  Her direction, along with the fine cast, is not only an exciting retelling of a favorite Shakespeare tragedy, but a visually stunning and spectacular event.  "Othello", described as “Shakespeare’s most intimate tragedy.”  Derrick Lee Weeden is Othello, a general in the Venetian army and a Moor, the only Black man in court.  His distinguished military service has won him a place of honor and the hand of the daughter of Senator Brabantio (David Darlow), Desdemona (Allison Batty).  John Hoogenakker stands out in a landmark performance as the forlorned Roderigo, a gentleman of Venice who would lay down his life for Desdemona, yet wants to die at having lost her.   Though Othello is in a precarious situation, he does well until he appoints Michael Cassio (Sean Fortunato) to be his first lieutenant.  He invokes the rage of Iago (Paul Niebanck).  Iago is probably Shakespeare’s most dangerous character.  He has everyone believing that he is a friend, when really he plots to destroy everyone and everything in the play.  “In Othello we have a husband and wife with true passion for each other, whose marriage and potential for happiness is destroyed,” says director Maraden.  “And although we know Othello is respected among his peers, there is bigotry in this world.  He is an outsider – and that has a psychological affect on him.”  Maraden says.  Scenic design by Patrick Clark is as profound as a walk through a priceless art gallery.  Fight scenes choreographed by Robin McFarquhar pull no punches.  A fine familiar cast of Shakespeareans gathers including Lesley Bevan as Emilia, Kurt Ehrmann as Duke of Venice, Nicolas Sandys as Montano and Greg Vinkler as Gratiano.  About Ruth Smerling Ruth Smerling began work as an entertainment writer while attending the prestigious University of Illinois School of Communications.  She persuaded the school paper to assign her to review the film "Get Shorty," starring John Travolta.  Unfortunately her work was a little too brutal for the UIC paper and that was also her last assignment.  Nevertheless, the need to write and communicate could not be extinguished and fortunately her reviews received a warm welcome by the Editor-In-Chief of College News, Daphne Robinson who named her the Reel Goddess from 1993 to 2003.  Ruth covered film festivals all over the North America and interviewed countless movie stars, directors and authors.  Meeting the French Director Bertrand Tavernier at the Chicago Film Festival was the turning point in her movie reviewing experience.  He presented a brilliant film called "It All Starts Today".  He explained that she loved his films so much because American films are enjoyable, but must sell as much popcorn and Coca-Cola as they do tickets.  Since 2003 Ruth has been submitting controversial and thought provoking reviews to Theatreworld Internet Magazine and is pleased to report that people around the world send her e-mails inquiring about Chicago theatre, actors, directors and productions underway.  Ruth is delighted to be part of the Steadstyle website and looks forward to a long and happy association.