In the Springs, Shakespeare’s tragedy is set during the Civil War

Director Mikael Burke’s original vision for Othello, Shakespeare’s great tragedy of love and jealousy, triumphs in Theatreworks’ excellent new production. Burke sets Othello during the American Civil War with Othello — the Venetian Moor and army general of Shakespeare’s tragedy — now a general in the Confederate Army.

The Gone with the Wind-meets-Shakespeare concept generally works. Obviously, no Black man could have commanded the Confederate Army, but as the program notes point out, there were Black soldiers, mostly conscripts or support laborers, in the Confederate army.

The cast’s Southern accents are good and perhaps we shouldn’t be surprised that the aristocratic social milieu of the Old South melds well with elegant Elizabethan verse. There are occasional jolts when the text references Venice and Cyprus, but if Kurosawa can reimagine King Lear as a samurai epic, why not Othello in Confederate Louisiana?

Burke starts the play in a novel way. Othello and Desdemona share a brief wedding dance and walk offstage hand in hand. The short, silent scene, not part of Shakespeare’s text, beautifully establishes the tender romance at the center of the play.

However, a ghostly canopy of torn bedding and women’s underwear hangs from the theatre’s ceiling. Debra Kim Sivigny’s set has a melancholy, haunted atmosphere that foreshadows the shredding of the lovers’ vows. It tells us we’re about to watch the wreck of happiness and, indeed, Iago immediately enters with his remorseless threats to that joy.

Colin Martin (L) and Michael Lee as Roderigo in ‘Othello’ at Theatreworks | Photo: Isaiah Downing

A musical twist

Musical elements reinforce the “Confederate Othello” vision. In Act II, Othello sings a rousing song that shows him as a charismatic leader. The song, titled “Where We Can Never Be,” was sourced by Lavour Addison, who plays Othello. It isn’t in English and as it doesn’t appear to originate in a white Southern culture, it skillfully inserts a plausible cultural heritage for a 19^th century Othello while carrying forward the play’s rowdy drinking scene. At a later moment, a defiant Iago whistles “Dixie.”

Burke’s staging, assisted by Samantha Egle, fight/intimacy director, takes full advantage of the play’s action. The pivotal scenes in Act III when Iago persuades Othello of Desdemona’s unfaithfulness are suspensefully staged and played. Othello and Iago alternately stalk and confront each other, with Iago sometimes coming off as the bad angel on Othello’s shoulder.

Colin Martin and Lavour Addison in ‘Othello’ | Photo: Isaiah Downing

When they finally face each other over Othello’s vow to kill Desdemona, a spotlight from above and a golden glow of light coming up through an open grate in the floor gave the scene extraordinary solemnity.

Likewise, the staging of Desdemona’s murder doesn’t shrink from the violence of Othello’s act. Rachel Fey, as Desdemona, is a strong presence throughout the play, and fights desperately in this moment.

As Othello, Lavour Addison is composed and self-assured in the face of bigotry. He’s anticipated the slurs he’ll face (or he’s heard them all before) and he doesn’t let them deter him from his purpose.

Colin Martin, an experienced actor who’s a newcomer to the Colorado theatre scene, instills Iago with great confidence. His performance masters Iago’s various masks, alternating sugary reassurance with flashes of ruthless hostility.

In supporting roles, Birgitta de Pree is particularly impressive and imposing first as Brabantio and later as Lodovico. Michael Lee alternately whines and rages persuasively as Rodrigo. Colton Pratt’s Cassio is a drunken boy scout: endearingly clueless and desperate.

The Theatreworks production reveals new possibilities in a timeless play. It’s a rewarding evening of great artistry.