CAST’s take on “Othello” proves how Shakespeare remains relevant to the 21st century audience
Anyone getting into the art of theater and literature will surely encounter the Bard: William Shakespeare, the great English playwright and poet. His works have been performed on stages across the world for centuries; proof of the timelessness and enduring quality of the stories and characters he has written.
And though many of Shakespeare’s stories have undergone various adaptations and permutations (the star-crossed love story of Romeo and Juliet, for example, has been retold in almost every form imaginable. Musicals like “West Side Story” and “&Juliet,” and even local musical “Sintang Dalisay” all have roots in the romantic tragedy) because of these old English roots, some may find Shakespeare’s works intimidating to approach and consume.
“Othello” deals with themes and issues that, unfortunately, continue to exist hundreds of years after it’s been written
But for the Company of Actors in Streamlined Theatre (CAST), there is no material too niche, too obscure, or too intimidating to pursue. For years, from their early days of presenting staged readings, to today, now staging full productions (in more scaled down, intimate settings), the company says loud and clear: Every compelling story demands to be told—more so, to be seen by audiences. Even “Othello,” which is estimated to have been written by Shakespeare around 420 years ago, continues to resonate in 2024.
“Othello” deals with themes and issues that, unfortunately, continue to exist hundreds of years after it’s been written. Discrimination and racism, jealousy and manipulation leading to people getting hurt—or worse, killed. Domestic violence, women being mistreated. CAST’s version of “Othello,” under the helm of director Nelsito Gomez, takes the tragedy into the modern era through its setting, costume, and production design, but continues to stay rooted by way of language.
The choice to stage this harrowing piece in such an intimate setting (with only a hundred seats per show), also gives the audience a better opportunity to connect with the actors and the story. Here, we are able to look these characters in the eye, see the details of their reactions, and feel just as much as the characters themselves. The rattling of chairs thrown across the stage, the force of impact in altercations—each movement is magnified in the small space, making the tragedy even more terrifying.
The gravity of this story is held by a strong ensemble of actors. Tarek El Tayech as the play’s namesake Othello towers over the characters, a perfect physical depiction of the high status and power the character has gained at the start of the play. His piercing looks and booming voice, especially in scenes when he questions (rather forcefully) the fidelity of his wife Desdemona (played by Gab Pangilinan), strike fear not just in her but in the audience following in the action, too.
The choice to stage this harrowing piece in such an intimate setting (with only a hundred seats per show), also gives the audience a better opportunity to connect with the actors and the story
Reb Atadero meanwhile portrays Iago, Othello’s ensign, who is turned into a master manipulator by his jealousy. Though it is Othello that towers over him, it’s his plotting that brings Othello down. This is the first time we see Atadero take on the role of an antagonist, and he does so spectacularly that you’d feel conflicted—contempt at his envy-driven plans but also awe at the intensity of the performance.
Pangilinan as the faithful (painfully so) Desdemona and Maronne Cruz as Emilia are also favorites for how they brought out the voices of women in the play. Desdemona and Emilia contrast with their husbands, showing far greater understanding of humanity and compassion. And with how the play tragically ends, all we can say is, who’s more emotional and irrational when angry again? Definitely not the women.
As Iago is fervid and frenzied in talking about his plans to bring down Othello, Atadero locks gazes with the audience–and you’ll see heads nodding, as if to say they understand, they’re listening. This intimate setting not only makes it easier for the actors to connect with and appeal to the viewers, it also allows audiences to see each other’s reactions more closely. And that’s part of the charm of live theater: the collective reactions.
You’d see eyebrows furrowed at the sound of Iago’s deceptive plots, eyes watering at the heartwrenching conversation between Desdemona and Emilia, a little tremble and wariness at the sight of Othello’s aggression. The tension built as the audience sees the story unfold is magnified, too, thanks to the intimate setup.
True enough, as Gomez writes in his director’s notes, “[Shakespeare’s] works were meant to be seen, heard, and felt.” Such was the experience of CAST’s “Othello,” which enjoyed sold-out (and extended!) performances to audiences of varying demographics. In fact, it was so well-received that the show will be restaged in March 2025.
This production proves you don’t need to have read the piece (or “done your homework,” so to speak) to understand or appreciate the work—you just need to be open. Like any performance or theatrical piece, it really just needs the audience’s openness for the story to really capture you. The fundamental thing you’d need before watching a Shakespeare play isn’t to have studied it or read the piece; you just need to be human. With such real themes, it’s sure to be something that would resonate, whatever the period.
To see people clamor for more performances of this kind makes you feel hopeful not just about the local theater scene but for literature as well. Classic pieces will never be forgotten, especially not if there are creators like CAST that will continue to put out thoughtful work like this.
“Othello” is set to rerun for eight performances in March 2025. Tickets are already available. For updates, follow CAST on social media.