November 7 - 23, 2019 (Victoria, BC)
Produced by the University of Victoria Phoenix Theatre
Written by William Shakespeare
Directed by Brian Richmond
Fight Direction and Choreography by Jacques Lemay
Set Design by Conor P. Farrell and Logan Swain
Costume Design by Emily Friesen
Lighting Design by Michael Whitfield
Sound Design, Music Direction, Arrangement & Composition by Olivia Wheeler
Voice and Text Work by Michael Elliott
Stage Managed by Emma Jo Conlin.
Assisted by Alexander Moorman.
Aided by Gracia Joulie.
With thanks to Charles Procure,
Karina Kalvaitis, Jeremy Herndl,
and Bryn Finer.
Images by Dean Kalyan.
Paul Cridge: Gentleman, Ensemble
Sivert Das: Clown, Senator, Ensemble
Georgia Duff: Desdemona
Miriam Dumitra: Musician, Ensemble
Maddy El Baroudi: Ghost of Barbary, Ensemble
David Elliott: Lodovico, Musician, Ensemble
Grace Fedorchuk: Emilia, Musica
David Gardiner: Ensemble
Aidan Guerreiro: Gentleman, Ensemble
Carter Gulseth: Ensemble
Daniel Handford: Duke of Venice, Gentleman, Ensemble
Emily Hay: Bianca, Ensemble
Sarah Hunsberger: Brabantia, Gratiano, Ensemble
Esmé Laidlaw: Musician, Ensemble
Justin Little: Ensemble
Teddy MacRae: Ensemble
Julie McGuire: Musician, Ensemble
Tallas Munro: Othello
Sophia Radford: Ensemble
Una Rekic: Michael Cassio
Dawson Rutledge: Montano, Ensemble
Aaron Smail: Roderigo
Branden Sugden: Herald, Senator, Ensemble
Ciaran Volke: Iago
Hugh Wilcox: Ensemble
With its disturbing portrait of a world infused with racial politics, misogynist social structures and backstabbing treachery, Shakespeare’s Othello feels like it’s been ripped from today’s headlines – not written over 400 years ago.
Two lovers come from very different worlds: Othello, a mighty General from a foreign land, and Desdemona, a beautiful Senator’s daughter. They marry, undeterred by the prejudices that surround them. But no sooner are their vows sealed than their love is put to the test, as bigotry, envy, and jealousy begin to pull them apart.
Playing on Othello’s insecurities as an outsider in a predominantly white society, the charming but envious Iago – an ensign and trusted advisor – stokes the flames of his commanding officer’s jealous nature, bringing both the lovers, and the world they live in, to the point of utter collapse. In its raw emotions and ruthless politics, Othello remains an ageless and poignant tragedy.
"Richmond and his team have opted for a stylish black-and-white look that works wonderfully […] This unified sense of spectacle and beauty is maintained. It’s a credit to the talents of set designers Conor Farrell and Logan Swain, as well as Emily Friesen, an imaginative costume designer who does wonders with (what looks like) hockey pads.” - Adrian Chamberlain, Times Colonist
“Everything in this production feels grand. With moving sets courtesy of set designers Conor Farrell and Logan Swain, the set is easily adaptable to each scene and used in incredibly creative ways.” - Check the Program
“The set (co-designed by Conor Farrell and Logan Swain) is symbolic as well, using a gigantic white silk veil that is periodically turned, twirled, and folded—revealing new sets underneath as if by magic.” - Emily Welch, NEXUS
“The set, designer by Conor Farrell and Logan Swain, consists of huge archways and sets of stairs being moved around to form whatever venue is required. Brilliant! Of course the [Chief] Dan George Theatre […] provides a perfect space for free movement of both people and props.” - Sheila Martindale, Monday Magazine
“From the very first scene, the set designers have taken advantage of a movable set with stairs, doorways, and a sheet used for a sail, a river, a blanket, and a tent. The creativity in how the changing sets are used is a genuine delight to see, as is how the characters interact with them. The ensemble is also used to move the sets around and how they do that feels organic to the world of the play.” - Brianna Bock, The Martlet