I try to write a blog every week, but last week got away from me. What with the awful events in Orlando, the disgusting abuses in the Chicago Theatre Scene, opening Cymbeline (with my sweet fight choreography), and helping a new actor in Othello, it slipped away. Also, the Pittsburgh Penguins won the Stanley Cup!!!!!! This took up more of my summer than it has in the past 7 years.
But to SBTS. Usually at this time, I'm freaking out trying to get the comedy that I directed (and inevitably playing a role in) open. That has been my life for the last 3 years. And I loved it. And it gave me ulcers. I am so proud of each of those productions. And after last summer, I directed Henry IV pt. 1 at Little Fish. And I honestly don't think that I could duplicate that experience. If there was ever a show to go out on as a director, that was it. I don't know that I'll direct again. Although there are a few plays written by friends of mine, that I would jump back in the seat for. And also I have some movie ideas...
But back to Othello. The thing I love the most about this play is that it feels so intimate. We have talked about how isolated the world is. Much of that by Iago's design. The scenes take place between two or three people, with the occasional senate scene or party. But it's a very personal drama taking place between many credulous fools, and one man determined to do them harm.
There is much talk about honesty and reputation. And Iago is his most truthful when nobody believes him. Saying these things are fictions. "Reputation is an idle and most shallow imposition, oft got without merit and lost without deserving." "Her honor is an essence that's not seen. They have it very oft that have it not." These are delicious moments. "I think you think I love you." So great. Iago is not only a gifted liar. But he does small injustices without even thinking about it. There is literally no text that explains why he is robbing Roderigo blind. He's doing it because it's fun. He decides to put taking down Othello together with taking down Casio because it makes it interesting. He's a gambler. He loves the action. And some of the most fun in playing this role is that Shakespeare always throws in a monkey-wrench when he's getting his way. He has Casio "confess" in front of Othello and along comes Bianca. Stuff can seriously go sideways. Othello finally makes him his Lieutenant, and here comes effing Lodovico from Venice with a message.
I'm still finding so much in it. Iago is much smarter than Patrick, and far more able to roll with the punches. So, I'm trying to rise to that. And I hope that I'm bringing some humanity to the role that maybe most miss out on. It is my contention that although he's a talented liar and thief that he's never used these things for evil...until now. It may be a leap, but I believe that a switch was flipped in his mind when Othello passed him over for Lieutenant, and then he heard the rumors (far and wide) that Othello slept with his wife. That jealously is clear to me. I understand that. I also understand wanting to punish the person who hurt you in the very same way. Which is Iago's goal. He actually doesn't set out to kill anybody. He wants to get Casio's position and put Othello into the madness of jealousy that he, himself, is experiencing. But as the plan takes on life, better others die than he should, right? I even feel like he tries to save Desdemona from actual death. Two scenes back to back happen where he tells people to follow the Moor and mark him well. Sure, he doesn't try to directly stop it. He needs Othello to shame himself. But effing Lodovico was supposed to mark him well, and Emilia was to run and tell them what has happened.
Not to excuse him, of course. Except that I must. These are the pieces of humanity that make Iago a real person for me, and not some evil caricature. And why doesn't he kill Emilia until after she's outed him? (spoiler alert...doh). He keeps warning her to be quiet and go home. Would it be worse for him to kill her before she spills the beans than after? No. He knows that. He just doesn't want to do it. But then all is lost.
Man, I'm excited to get back to rehearsal. Monday will be interesting. The Monday before opening of the tragedy is always difficult, since it's been a week and a half since we've done it. We have lights, sounds, and costumes for the first time. But this year we also have a new actor in a major role. Some year, I would love to do a documentary of just the tech week to Saturday of the tragedy of SBTS. It's incredible. When I think of some of our best productions, I remember the most ridiculous Monday nights. Caesar was a mess. King John was the end of our careers. Hamlet was a disaster. But they all grew by leaps and bounds and opened wonderfully. To quote Shakespeare in Love: "It's a mystery." Plus Stephanie has directed every drama for the last 7 years...so it's not such a mystery why they are always ready to open.
Anyway, if you want to see me later tonight, I'll be at Pt. Fermin drinking beers and eating Pastrami and watching my friends kill it in "Cymbeline." And then the work begins again!
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