Dean Poling | The Valdosta Daily TimesOthello (played by Terrance Searcy) makes Iago (Ian Anderson) his lieutenant in the Valdosta State University Theatre & Dance production of 'Othello.' As literary scholar Harold Bloom noted the Shakespearean tale is Othello's tragedy but Iago's play.

PLAY REVIEW

VALDOSTA – Ian Anderson may have done his job too well.

At curtain call, no one booed when the spotlight hit Anderson but the applause was restrained – arguably tepid – compared to the raucous clapping and cheering for Terrance Searcy and Sarah Mott who play Othello and Desdemona.

But that’s the peril for any actor playing the villainous Iago.

Play the back-stabbing, manipulative, scheming Iago too well, the audience isn’t sure how to respond when it’s time for applause and ovations. 

As one audience member at the Valdosta State University Theatre & Dance production of Shakespeare’s “Othello” said several times when Anderson’s Iago was on stage, “… he’s so mean.”

Mean, indeed, and funny.

Anderson as Iago is a marvel. 

In his deft hands, Iago is a charismatic man poisoned by jealousy and ambition. Here, it’s easy to see how Iago could become the captain eventually, on merit, a man who so willfully leads men to their destruction out of spite could lead them to victories via inspiration … if only he weren’t so mean. 

Anderson is on stage for the majority of the play. Through his actions and his audience asides, he peels back the layers of Iago’s corrupt mind and reveals the plot he lays for Desdemona, Cassio, Roderigo, Emilia, Montano, Bianca and others all to topple his captain, Othello.

Terrance Searcy plays the title role. Audiences who have followed his VSU Theatre career – an Elvisish Fonz-type in the musical “All Shook Up,” the nigh-Jekyll and Hyde tour-de-force of his work in the musical “Drood,” and several other roles – will not be surprised that Searcy plays Othello with a full palette of human emotions. 

He does not sing here but Searcy brings a lyrical quality to Othello but one backed with the strength and versatility of a full orchestra of talents.

Watching Searcy’s Othello fall is like witnessing the demolition of a mighty tower, collapsing section by section by the well-placed detonations of Iago’s evil intent.

Sarah Mott is chaste and innocent as the doomed Desdemona. A woman in love who suddenly faces a storm of vicious abuse from her love. A woman who adores Othello even as he transforms from her loving and protective knight into her nightmare. Mott plays Desdemona with the buoyant spirit of a girl in love then the sad grace of a woman wronged by false accusations that she has committed wrong.

The entire cast is splendid. No false notes here. Each one defines the character of their roles from love-sick to noble to loyal to base – but all are dominoes arranged then fallen by a tap of Iago’s finger.

Anderson’s Iago fully works Ruth A. Brandvik’s always eye-catching and fully utilitarian stage designs. He does not devour the scenery rather he works Brandvik’s well-executed set like a master chess player. Brandvik’s lighting design captures sunshine and storms in the exterior world of “Othello” as well as reflecting the interior moods of the players.

Costume designer Chalise Ludlow dresses the cast in a wide array of colorful, swashbuckling garb and flowing robes. Her costumes are striking. 

So are the fight scenes coordinated by Anderson doing double duty as Iago and fight coordinator. A bit ironic that the fights caused by Iago’s manipulations are choreographed by the man playing him.  

Jacque Wheeler directs “Othello.” 

She has directed numerous Shakespearean plays at VSU. She has prepared the cast well. She knows if the players do not understand the Shakespearean words they speak, the audience will not understand the words they hear. No fake British accents here, which lends to the authenticity of the show. 

Like Shakespeare, Wheeler understands a tragedy is not all gloom, even if it must end in doom. Light and humorous moments are essential, not only for variety and pacing’s sake, but they ensure the final violence is not just a disturbance on the surface but a blow that reverberates deep in the soul.

Wheeler’s “Othello” strikes deep.

It has the power to stun audiences. Even with the tableau setting of the curtain call, the performers remain in character to accept their applause, some audience members may still be reeling from the power of a moment that many knew was coming before ever entering Sawyer Theatre. 

And many in the audience still see Iago rather than the actor who plays him so well.

The review is based on the Thursday opening night performance.

Valdosta State University Theatre & Dance production of Shakespeare’s “Othello” continues 7:30 p.m. Friday, Saturday, Nov. 15-16; 3 p.m. Sunday, Nov. 17; 7:30 p.m. Monday and Tuesday, Nov. 18, 19, Sawyer Theatre, VSU Fine Arts Building, corner of Oak and Brookwood. More information: Call (229) 333-5973 or visit www.valdosta.edu/comarts.