Directed by: Alison DarcyBy William Shakespeare
Dramaturgy by Joseph Shragge
A Segal Centre production in association with Scapegoat Carnivale Theatre
When passion, power and betrayal collide...
"I am not what I am" - Iago (Act I, Scene I)
SYNOPSISOthello, the Moor of Venice, has been named General of the Venetian Army – earning him the love of the beautiful Desdemona and the secret resentment of his closest advisor, Iago. Reason and emotion clash as the ambitious Iago preys on Othello’s greatest vulnerability, his love for Desdemona. Heart-stopping and thrilling, Shakespeare’s ultimate classic lives on in a new production featuring one of Montreal’s most creative theatre companies.
MONDAY NIGHT TALKBACKSMonday, November 25th after the 8:00 p.m. performance of Othello
Plus: a Special Saturday Talkback on Saturday, November 30th!
A post-show opportunity to interact with the artists bringing our plays to life. Book your tickets to a Monday evening performance and share your thoughts with the cast and crew afterwards!
Call the Box Office for more information.
PROGRAM BOOKBios, synopsis...
OTHELLO ACTOR PORTRAITSMeet the actors bringing this Shakespearian classic to life in our new PORTRAITS video series.
Daniel Brochu as Cassio
Amanda Lisman as Desdemona
Andrew Moodie as Othello
DESIGNER INTERVIEWSINTERVIEW WITH DAVID OPPENHEIM, SOUND DESIGNER
David Oppenheim is the Sound Designer for Othello and Assistant General Manager of Scapegoat Carnivale Theatre. David has been composing, directing and performing music for theatre for over ten years. His past projects include Life Is a Dream, Medea (winner of two MECCA awards) and The Bacchae (winner of 10 META Awards) at Centaur Theatre, and The Heretics of Bohemia and Faust at the Segal Centre. His musical inspiration comes from jazz, experimental, and folk music from around the world. He has also performed across Québec with the gypsy-punk band Roma Carnivale, including at the Festival International de Jazz de Montréal.
SC: Can you explain your vision for Othello’s sound design?
David Oppenheim: We came up with a concept that involves using both recorded vocal music and new design elements. The vocal music is actually from Shakespeare’s time, by an Italian composer by the name of Claudio Monteverdi.
All the music I’m using in this show was actually written the same year that Othello was written. The first part of the play takes place in Venice, so culturally it’s based in the same time and place that Othello is from. The music also fits the show very well in terms of the mood. I’ve taken Monteverdi’s music and turned it into something more contemporary, re-contextualizing it into something different.
Othello is very interesting because there are two songs in the show, many of Shakespeare’s plays have songs in them. Iago has a drinking song and Desdemona has a beautiful one called The Willow Song which comes in to her mind when she gets worried about Othello’s state of mind. So it’s a very musical piece, and music is, to me, integral to the show itself.
SC: What attracted you about Monteverdi’s music?
The music of Monteverdi is very emotionally intense and heightened musically. What was revolutionary about him is that he was using poetry as his lyrics and then composing music for that poetry. He was very unique at the time, and in fact was criticized for focusing a lot on what emotions the lyrics brought up. This was not necessarily how music was thought of at the time.
SC: How do you wrap your head around attacking such a recognizable play?
DO: When I listened to Monteverdi’s music, and I think Alison (Darcy) agreed when I played it for her, I felt it was artistically rich music and I felt people would respond to it.
The question of what Othello means to audiences today or what its relevance is isn’t a question I worry about so much. I think when such great works of art are put in front of an audience, people respond. So that was my approach to the sound design : the music moves me so much, I don’t necessarily have a perfect justification for why this song needs to be put in this or that part of the play. It’s so beautiful, and emotionally there’s so much there, I think it’s going to work!
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