For its latest annual summertime offering of performances free to the public, Classical Theatre of Harlem delivers a solid open-air revival of Othello at the Richard Rodgers Amphitheatre in Marcus Garvey Park. Last Tuesday night, over 600 spectators ignored a steady drizzle to watch Shakespeare’s tragedy. From their audible reactions at certain points, it was obvious his 422-year-old drama still packs surprise and punch. Or gunshots, rather, since the CTH production sets the play in contemporary times.
Trimming the text to an intermission-less two hours, Carl Cofield, the director, cultivates a macho atmosphere for the story, most of which unfolds at a military base. Clad in jealousy-green fatigues, soldiers march in formation across the stage between scenes. They drill with pikes. They get drunk at a keg party and brawl. Such machismo extends even to the female characters: Desdemona, Emilia and Bianca immediately fight back whenever they are manhandled.
The performances were visually a tad broad; necessarily so due to the far pitch of the wide amphitheater but sufficient in their characterizations. Depicting Iago as a pathologically angry guy who assumes a deceptive mask of concern when needed, a pugnacious Nick Westrate directly engages the audience with his alpha dog’s crafty thoughts. Evidently no match for Iago’s relentless machinations, James Udom sets his dignified Othello apart from everyone else by a usually reserved manner and brisk African accents. Subtly miming her willowy Desdemona might be pregnant – the suggestion is not pursued subsequently, however – Isabel Arraiza quietly lends the unlucky lady a musical voice. The couple’s fatal encounter in the bedroom is relatively quick and seemed strangely cool, but perhaps it was dampened by Tuesday’s weather.
The supporting performances are capable. Keren Lugo is a forthright Emilia. Initially portraying Roderigo as a silly playboy, Hiram Delgado believably shows him grow pathetic under Iago’s influence. Orlando Grant has very little to do but appear handsome and confused as Cassio, while Rebecca Ana Peña gives her spitfire Bianca an attitude as fresh as her beflowered frock bestowed by costume designer Mika Eubanks. Collin McConnell neatly depicts two different Venetian gentlemen. Abetted by usually crisp audio reinforcement, the ensemble sounds comfortable in their Shakespearean conversations.
Cofield stages the action vigorously amid the entrances and exits of the efficient, abstract setting of blocky gray panels designed by Christopher and Justin Swader. It was announced prior to the show how technical issues prevented the use of projected images at Tuesday’s performance. (Probably they could have prevented those gloomy environs from suggesting Stonehenge more than Cyprus.) Designer Alan C. Edwards’ lighting is more about promoting visibility than dramatic atmosphere. Not incidentally, the director gets the play off to an easy start by adding a short prologue to better identify the principal characters. Let’s conclude with a great, big spoiler about the way Cofield ends the production: Rather than see Iago marched off to later execution, as Shakespeare wrote it, the bad guy gets killed here. Without detailing exactly how Iago’s death happens, let’s only report that it appeared to please the audience enormously.
Othello opened July 5, 2026 at the Richard Rodgers Amphitheatre and runs through July 26. Tickets and information: cthnyc.org
