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LAByrinth Stages a 21st-Century Othello
Philip Seymour Hoffman and John Ortiz in a bold new interpretation
Philip Seymour Hoffman and John Ortiz in the LAByrinth Theater Company’s Othello (Photo: Armin Bardel)
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It’s a challenge to sustain an off-Broadway company—and The LAByrinth Theater Company has pulled it off. Founded in 1992 by 13 actors who wanted to flex their creative muscle, the troupe is now a 100-plus multicultural collective. The ensemble gives each member the chance to act, write and direct. To date, LABryinth has produced 50 new American plays, received 12 Drama Desk Award nominations, an Olivier Award nomination, an Edinburgh Fringe First Award and the 2002 Jujamcyn Theaters Award.
Not content to rest on it laurels, the LAB’s latest effort, Othello, stars Philip Seymour Hoffman and John Ortiz as Iago and Othello, respectively, two of the most memorable figures from the Shakespeare canon. Directed by Peter Sellars, noted for his often-controversial staging, Othello, co-produced with The Public Theater, plays just 23 performances. The production runs September 12 to October 4 at NYU Skirball Center, 566 LaGuardia Place.
The choice of Hoffman, who won an Oscar for Capote and earned a Tony nomination for True West, isn’t by chance. He is also co-artistic director of the LAByrinth Theater, where he directed Our Lady of 121st Street. But unlike many successful actors, who long to be cast as Hamlet, he told The New York Times he was especially interested in playing Iago. “I’ve never been all that interested in playing Hamlet… But Iago, I guess his demons interest me more,” explained Hoffman. “To my mind, Iago actually loves Othello. And it’s hard not to think of Obama when you read Othello now.”
Indeed, though Othello is traditionally interpreted as the lovers, Othello and Desdemona, against the world, Sellars perceives more global unrest. This production, first staged in Europe, is littered with references to American politics. In this rendition, Othello may seem reminiscent of Colin Powell, a black general who lied to the U.N. about Iraqi weapons of mass destruction. There are also shadows of Guantánamo. Take note: the text hasn’t changed; the new insights, according to European critics, are implied in the performances. That fluidity is probably due to LAByrinth’s technique of birthing plays. Each is first presented at a Summer Intensive, a two-week retreat where members and invited guest artists create new work or develop current works in progress. Post-Intensive, selected works move to the next stage in the creative process and are presented in one of two public forums in New York.
Whether viewed as a modern-day twist, or part of an ongoing effort to bring Shakespeare to new generations, Hoffman says of the passionate tale: “It’s fun to think about the possibilities.”