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Othello (Johnnie McQuarley) stands shocked by the words of his enemy.

McQuarley also understands the divide between Othello and those he lives and works with.

“[Othello] can’t go back to where he’s from,” McQuarley said. “Other roles I’ve played have had a very solid genesis that they can turn to. Othello seems to be starting from the middle, trying to discover himself in a new way in a new world.”

Some parts of the plot, however, were more difficult to adapt to a contemporary setting. One of the most obvious contemporary changes O’Leary made was the switch from casting a Brabantio, Desdemona’s father, to Brabantia. No longer is the character an overbearing father, unwilling to give away his property; as a woman, Brabantia is still stubborn but understands Desdemona’s desire to choose.

Costume director Tyler Kinney created humor with his wardrobes.  Laughter bounced off the confined walls of the theater as Cassio popped his collar or Emilia unexpectedly pulled a handkerchief from a keyhole on her blouse. Characters in blue jeans, crop tops and military camouflage helped solidify this idea of accessibility.

However, O’Leary understands that the idea of jealousy and manipulation were still the most modern aspects of the show. متى يبدا تداول اسهم البنك الاهلي “It’s upsetting to think that a play like ‘Othello’ could still resonate in a way that we feel connected to,” O’Leary said.


Photo courtesy Joanne Barrett, Stratton McCrady Photography