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hat comes as no surprise in “Othello,” sharply directed here by Nigel Shawn Williams on a modern set with overly literal projections of trickling blood and what look like lice. (“I’ll pour this pestilence into his ear,” Iago tells us in one of his chilling soliloquies.) As the Moorish general in the Venetian army who marries Desdemona, the white pearl of that society’s aristocracy, Michael Blake establishes the psychosexual drama from the start.
He wears his confidence like a cockscomb but is clearly more at a loss in love than he ever was in war.
Though race can’t help but be a theme in “Othello,” it is not the main one here; Iago’s hatred, and Othello’s susceptibility to it, seem to stem less from each man’s response to outsiderness than from their common fear of cuckoldry.Lago imagines that Othello has slept with his wife, Emilia, here a soldier in Desdemona’s retinue, not just her maid. In a superb performance, Gordon S. Miller (a ringer for Tony Hale of “Veep”) gives us Iago as a hypercompetent desk jockey who turns, after hours, into a vicious, fake-news-spreading incel.