I have become a serious streaming theatre addict. I’d say I can stop anytime but I’d be lying. I won’t bore you here with my personal journey to streaming theatre, including the spectacular variety of audio theatre in the wide world of podcasts, because I don’t want to waste any time getting you to the ticket information for Chicago’s Court Theatre production of The Tragedy of Othello, The Moor of Venice. GET STREAMING TICKET INFORMATION HERE.
Led by the resplendent Kelvin Roston Jr’s deep dive into the title role, this adept ensemble moves with musicality and fluidity, utilizing every inch of the theatre to bring this story of a Venetian outsider, a pernicious villain, and a pesky handkerchief to life. The multi-level urban scaffolding surrounds the audience, who sit on the space of the stage in swivel chairs, masked and constantly moving to experience the action all around them. I’d much rather be in one of those sold-out swivel chairs, but the camera crew has captured this live production brilliantly. Co-directors Charles Newell and Gabrielle Randle-Bent don’t allow for an ounce of fat on this 100-minute intermissionless production which includes a stunning nuptial dance sequence haunted by the dark complexity of Timothy Edward Kane’s stalwart Iago. Aetherial Amanda Drinkall’s Desdemona, clad in a white satin gown, is balanced to perfection by Cruz Gonzalez-Cadel’s black satin-gowned Emilia. The active intimacy of Sheldon Brown’s Cassio and Darren Patin’s gorgeous drag queen Bianca is a show-stopping highlight.
As mesmerizing as the ensemble is, the set, perhaps, is the real star of the show. Lit and designed by Keith Parham and John Culbert, the cast moves continually up and down the set and through the rows of tarp-covered audience seats, a reminder of our pandemic world, but also a comment on the harshness of the play’s inevitable tragic conclusion. Every minute of the play grips the audience and is worth the proverbial price of admission. Get your tickets before December 5th to experience this stunning rendering of Shakespeare’s classic tale of jealousy and revenge.
While nothing takes the place of live theatre or music, paying for individual streaming plays or subscribing to organizations like National Theatre Live @ Home can scratch the itch for live theatre while also supporting the writers, actors, directors, designers, and musicians we desperately need when we’re quarantined or otherwise homebound. I didn’t get a review out fast enough to support the American Players Theatre’s five-actor romp through Shakespeare’s Taming of the Shrew (it was dazzling—sorry you missed it). But keep an eye out for more streaming options from this Spring Green, Wisconsin-based theatre. Next up for APT is the holiday classic, Gift of the Magi. And stay tuned for my upcoming year-end wrap-up of the best in streaming theatre. For now, drop what you’re doing, scroll back to the top, and get your tickets now for Chicago’s Court Theatre production of Shakespeare’s Othello.