OTHELLO: A DANCE IN THREE ACTS

Review by Celia Ipiotis

Othello, Shakespeare’s tragedy, has inspired a number of theatrical and dance adaptations, including Jose Limon’s classic The Moor’s Pavane. In the case of Limon, the pioneering Mexican-American modern dancer and choreographer, the ballet is distilled to the four primary characters Othello, Desdemona, Iago, and Amelia. The power of this clear, concise ballet is undeniable, the tension palpable and tragedy harrowing.

In the case of American Ballet Theater’s 1997 commissioned Othello: A Dance in Three Acts by award winning choreographer Lar Lubovitch and composer Elliot Goldenthal, the ballet spreads out over three acts physically interpreting the larger play.

Hailed a valiant leader by the Renaissance Venetian rulers, Othello catches the eye of a nobleman’s daughter Desdemona. Their secret marriage triggers the deceit and jealousy that fuels this tragedy. To start, General Othello’s ensign, Iago (James Whiteside) becomes unhinged after Othello (Calvin Royal III) overlooks Iago (James Whiteside) in favor of a good-natured nobleman, Cassio (Jake Roxander), to the position of lieutenant.

Thus Iago vows to destroy Othello by duping him into believing his wife’s unfaithfulness. Much of the dramatic action revolves around a (huge) white handkerchief given to Desdemona by Othello. A prized possession, she wears it on her body at all times.

Lubovitch, a choreographer capable of creating surging waves of movement fares best in the second act when the masses crowd the Cypriot shore awaiting the return of the soldiers led by Othello and caught in  a tempest. Goldenthal builds the sound of wind whistling through the air, and massive waves beating against the shore. Set against George Tsypin’s majestic set, a ship’s mast teeters and blue, brown and white colors are splashed on the backdrop. A finely tuned corps forms whirlpools of motion, tightening into a coil, then releasing into a long cord of bodies curving their torsos and slipping swiftly from one side of the stage to the other.

In Act I, Othello’s long deep lunges and melancholic extensions of his long limbs set his movement vocabulary. Twice as tall as his wife Desdemona (the delicate Fan qui Li) this height imbalance underscores her vulnerability against his potential, unchecked strength.

Royal pulls Li into his torso and pushes her back, almost like the dual persistence of love and fear. Li’s innate lyricism and feathery bourees, is balanced by a remarkable tensile strength. Whiteside, who revels in playing the villain, sharpens his gestures to resemble lethal weapons. Against his icy lurches towards Royal and tarantula strides, Whiteside tightens the circle around the crime.

In contrast, the amiable and youthful Roxander (Bessie Dance Award winner) releases impeccable turns and leaps that hover for a second before landing in front of the innocent Desdemona. His motions freely spin out and embrace the space. Another contributor to the forces that lead to the final denouement, Amelia (Madison Brown), Iago’s wife and Desdemona’s handmaiden, exhibits backbone and a vivid personality that invest movements that curl and stretch into rapid fire spins.

When Iago forces Amelia to surrender Desdemona’s white handkerchief — lost during the Act II’s animated dancing — her body stiffens. This iconic handkerchief — tossed in the air, passed from person to person — resembles a royal banner rather than a treasured keepsake. At one point, the handkerchief appears so dominant it almost begins to grow larger and larger in size.

Finally, Iago presents the handkerchief to Othello to prove Cassio is her lover. Othello’s unchecked fury is unstoppable. Desdemona is unceremoniously challenged by the towering Othello who strangles her with the very item that bonded their true love. 

EYE ON THE ARTS, NY — Celia Ipiotis