Aquila company’s ‘Othello’ falls flat Pacing, lack of action hurt WWII-era update

ORONO – Intrigue. Deception. Lust. Racism. Jealousy. Abuse. Murder.

When the Aquila Theatre Company brought its production of “Othello” to the Maine Center for the Arts Wednesday night as part of the National Endowment for the Arts’ Shakespeare in American Communities program, it had all the elements of a searing drama. The acting was flawless. The delivery was bold, booming, and fraught with emotion. Yet despite its technical excellence, this rendering of Shakespeare’s wrenching tragedy fell flat.

It wasn’t for lack of trying.

Aquila, known for its innovative adaptations of classic plays, set “Othello” against a military backdrop, first in the streets and Senate of Venice, and later on an esplanade in Cyprus. The characters took on the role of British soldiers, circa World War II, but they could have just as easily been U.S. soldiers in Baghdad today.

Which raises an interesting question: Would the play have resonated more strongly had Aquila taken a different tack? The mistrust felt toward Othello, a Moor (or a Muslim of African descent), brought to mind the post-9-11 suspicion of Islamic and Muslim Americans. And since the war in Iraq began, we have seen members of the U.S. military on the news, on TV shows, in the papers, on the cover of magazines.

Perhaps this take on Shakespeare can’t compete with the live drama that has unfolded around us since the World Trade Center attacks. And in this case, it definitely couldn’t match the pace of coverage. At nearly 2 hours and 45 minutes, “Othello” ran slowly. And for the hundreds of high school students in the audience, it probably felt longer than that.

This production of “Othello” could have gone all the way. The military metaphor had the potential to be far more powerful than it turned out to be. And the acting, even at its best, couldn’t make up for the slow pace.

Lloyd Notice, in the role of Othello, was remarkable. His performance crackled with energy as he became ensnared in the psychological web that Iago (Anthony Cochrane) wove. As Iago’s wife, Emilia, Tracey Mitchell gave a commendable performance that escalated to a feverish pitch at the play’s finale.

But ultimately, the play lacked steam. There was too little action, too late.

In the past, Aquila has powered through such works as “Much Ado About Nothing” in a sleek, rock ‘n’ roll fashion. The modern interpretations have wooed a younger audience, while the troupe’s mastery of the text has retained traditionalists.

These performances are not period pieces. Nor should they be. Sometimes, a production can hold its own against a minimal set and a contemporary adaptation. Sometimes, it needs a boost. “Othello” needed a little more rock ‘n’ roll.