To what lengths will man go in the name of jealousy and hatred? To Shakespeare, he would go to the utmost extreme—and director Nelsito Gomez shows us why.
Almost everyone has an opinion on Shakespeare. Most are enamored with the lyricism of the language, just as many are confounded by it. What is constant is the desire to dissect the words he put to paper back in the 16th century, and reimagine them in these present times. The Company of Actors in Streamlined Theater (CAST) joined the fray with this intimate staging of Othello, Shakespeare’s study on deceit, jealousy, and the human condition.
Director Nelsito Gomez’s vision for Othello was very clear, defining it more by circumstance than specificity in time and place. Yes, besides mentions of Crete in the text. The absence of a real set brings your focus to the prose, the actors, their characters, and the goings-on between them. This staging reinforces the truth that Shakespeare is best spoken than merely read on a page. The blocking is clean, intentional, and purposeful, keeping the narrative and its players in check. The beer hat—an invention Shakespeare would surely have taken to—was a rather nice touch. If there is one flaw to speak of, it would be the need for a slightly raised platform to make it a more comfortable watch for all.
There is something to be said about the casting of Tarek El Tayech and Reb Atadero as almost-protagonist Othello, and the charming yet manipulative Iago, respectively. In terms of physicality, this pairing is giving David and Goliath, with Atadero plotting a takedown of the much heftier built El Tayech. Except, in lieu of a slingshot, he turns to the cunning use of his words.
As Othello falls down the rabbit hole of despair, El Tayech’s expression hardens as the play enters its second act. His grip on his character’s waning sanity keeps everyone fixated on what he does next. Moving in the opposite direction, the audience sees in Atadero’s eyes how Iago’s ego and villainy grows and shamelessly takes over the space. It was refreshing to see him step away from his usual comedic or romantic roles, more so musical ones, this time around. Both actors wrestle, figuratively, on that stage using words instead of blows. The case they make leaves you unsure of who is more hateable of the two.
The unwitting victim of the two men is Desdemona, who runs off to marry the poor Othello, to her father’s dismay. The role seems to be quite a departure from actress Gab Pangilinan’s previous work, and it shows. In the play’s early scenes, there is little distinction between her portrayal here versus her past musical roles, coming off as one-note in many of her scenes. As the play went down a darker path, her portrayal felt just a little more than skin-deep.
On the other hand, Maronne Cruz, as Iago’s wife Emilia, claims her space in the play’s second act. She is compassionate as the caring friend comforting Desdemona through her grief, yet explosive upon discovering Iago’s vindictiveness. It does have to be said that both female characters had a strong individual voice, thanks to the actresses who played them.
CAST has found its niche by producing intimate shows and stage readings in small spaces, such as Mirror Studio, the rehearsal hall where Othello is staged. The experience leans towards immersive as the actors and their audience are but within feet of each other. Perhaps even voyeuristic, especially in the quietest or most intense encounters. This also means folks in the audience must resist the urge to smack a character (not the actor) in the face for being a traitorous wretch.
It feels like Shakespeare had intended for this tragedy to be staged in such a setting, rooting this very narrative in nuance. There are all those subtle changes in the mannerisms and expressionisms of the characters as they shifted loyalties from one scene to the next. It worked to Gomez’s advantage that his cast is able to go beyond the language, and respond in so visceral a manner.
El Tayech’s transformation from devoted husband to a tormented soul was unsettling. As was Atadero’s change from loyal friend to deceitful comrade as though it was an on/off switch in his head. The same can’t be said for Pangilinan, whom, in the explosive confrontations between Othello and Desdemona, fall short on the emotional gravitas those moments demanded.
In his “blink or you’ll miss it” scenes, as Jaime del Mundo himself calls it, he carried the pain of a father’s loss on his shoulders well. Rafael Jimenez, as Roderigo, woefully wore his naïve heart on his sleeve as he was played out for a fool.
There is one thing this play reminded the audience of about Shakespeare—he loved killing off his characters! From Macbeth and Hamlet to the couple in Romeo & Juliet (which is a tragedy, in case you needed a refresher), and Othello itself, there are a total of 155 deaths across 38 plays.
Fun fact: According to Shakespeare coach Emily Staudt, Desdemona ranks no. 7 among Shakespeare’s most gruesome deaths! Maybe it was a function of the times he lived in, but someone could’ve told him a happy ending never really hurt anyone.
One of the grim messages that Othello does leave us with is that certain societal ills have not faded with the passage of time. Violence against women, fueled by intrigue and jealousy, remains a pressing concern. According to a 2023 study by UN Women, an estimated one in three women globally are affected. CAST uses the show to draw attention to this, sharing statistics from the Philippine Commission on Women. QR codes to the Violence Against Women and their Children hotlines were also on display at the venue.
To be honest, Othello is difficult to watch. The steady descent into madness is unsettling, as is the tormented look in Othello’s eyes. Iago is a “snake in the grass” lying in wait to strike, using his words as venom to sow hatred and jealousy. All for hubris’ sake! What of the collateral damage he leaves behind!
As a director, Gomez succeeds in using the language and his actors to evoke a visceral reaction from the audience. They squirm in their seats as the violence of the final act unfolds. A jump scare, played out in Shakespearean prose. Conversations about trust and the fragility of the human mind begin to brew as the lights fade to black. Do hurt people really hurt people?
In the tragedy at the intersection of Iago, Othello, and Desdemona’s lives, that case may be true. And there is a lesson to be learned from that.
CAST’s staging of Shakespeare’s “Othello” still has a show on October 19 at Mirror Studio, SJG Center, Kalayaan, Makati. Tickets are said to be sold out but do check CAST’s socials.
