Since moving to Market East, I have become enamored with my new neighborhood. For me, it has become “Mulberry St”. This part of Philadelphia is alive and varied. Every stroll a new find. However, in a certain part of Market East around the corner from McDonald’s and in the shadow of the Gallery sits the epicenter of loathsome behavior and crimes of passion that sully the reputation of this emerging part of town. It is a spot where happiness can quickly turn to despair and the art of treachery has deadly results on a nightly basis. Perhaps a neighborhood watch group might need to turn their attention to the The Lantern Theater’s production of Othello as the nightly bloodbath leaves very few of its principals unharmed. Averaging four deaths per night, Shakespeare’s tribute to the great Greek tragedies teaches us that the fine line between love and hate can lead to disastrous results. With an ambitious recklessness, a villainous character (Iago) sets into motion a series of manipulations and misunderstandings with fatal consequences. Even the audience sits uneasy as transparent turns to opaque. The motivations of the person in the next seat might not be what they seem. Perhaps a little caution tape might warn anyone entering the Lantern Theater until May 4th that entrance to the theater comes without any guaranty. You might get caught up in the eye of the hurricane as well. Very few leave untainted.

Lantern Theater’s production of Othello, directed by Charles McMahon, shows us again that Shakespeare’s uncanny knack for describing our times due to the universality of human behavior can keep centuries-old stories relevant today. Othello is layered and profound. It could be laid upon the political story of today in an environment where fear and suspicion can be exploited by the ambitious. Othello’s tale could be the lead story on Action News where passion can turn to tragedy with a reckless decision. Those stories lead the news in our town more often than a story of a fallen warrior who let the whisper in his ear dispel the faith in self that he never lost on the field of battle. Iago’s ability to turn the world upside-down with wordplay and well-chosen sound-bytes mirrors the ease with which we might be diverted towards the negative despite our best intentions.

The ease with which Iago molds his revenge with words and misdeeds makes us uneasy. Peter Pryor’s portrayal of one of literature’s most notorious characters makes you want to befriend the devil. With every stolen wallet and broken heart, he turns to the audience and lets us go behind the curtain as the wizard manipulates the machine. He uses opportunity and comic flair to relax us into thinking that the words aren’t madness and the wrongs are only slightly wrong or justified if not right. He is only silent at the end when his treacherous game bounces us back to reality. When we ourselves skirt the lines between civility and ambition, we race through the red light while nobody is watching. We rationalize our inclusion in the game without acknowledging the slippery slope that might not allow us to stop. Iago is our darker voice and Pryor plays us perfectly. Like Othello, our own tendencies are exploited. Pryor has made Iago so modern that we sit thinking of the Iagos in our life and wonder if we’ve been Othello-ed as well. After the show, Pryor was standing next to the post-opening night buffet. I wanted to say hello but feared that he might steal my cookies so I left well enough alone.

The acting in the Lantern’s production is so superb that mentioning each performance is unnecessary. Frank X’s Othello cuts a great warrior down to size as his blubbering, emotional transformation is remarkable if not soaking wet (someone get him a hankie). Othello is an outsider. He is brave and unyielding in battle and yet needy for belonging behind the palace wall. Frank X’s eyes are confused. His twitching, shaking, and soaring portrayal of a man in agony and his unwillingness to believe in his own allure beyond the battlefield gives us a true indication of Iago’s thoroughness. A love based on opposites and the allure of the unknown turns into a knowledge void filled with aplomb by Iago and his gift for exploiting the fears. Desdemona played by Mary McCool keeps her faith and lives up to her last name. If they sold McCool’s at the neighboring McDonald’s, they would have a loyal following. Her Desdemona keeps our spirits aloft while Cyprus descends to the subway below.

The cast of this production shines with the sweet simplicity of the set. The smallish St. Stephen’s theater is transformed into a larger than life setting where a great warrior is brought to his knees by words. We feel as if we are hiding behind a pillar in a grand palace or on an ancient street and listening to the whispers in the shadows. Power can be corrupting. Iago’s search for recognition brings us into the circle. The Lantern’s production gives us binoculars and a hidden microphone as we see how quickly things can unravel. Like the stormy seas that brought down the Turkish fleet, we sit on solid stone (similar to the feeling of my seat) as we wait for the foundation to come apart.

The body count for the Lantern Theater’s Othello is very high. I counted four deaths, three murders, a suicide, a few life-threatening cuts, and a lot of stolen property. That was only one night. This can’t be good for Market East’s image transformation. What will all of the tourists coming from the Convention Center think? The audiences at the Lantern Theater are treated to a bargain that Market East visitors can truly appreciate. The play is a high quality performance of one of the world’s most famous tragic tales by the greatest playwright that ever lived. You can trust me on this. I promise. And I’m not selling refurbished electronics here. Seriously, you can trust me. Me. Yes, you can trust me.

The Lantern Theater Co @ St Stephen’s Theater
10th & Ludlow Sts, Philadelphia, PA 19105
(215) 829-0395
www.lanterntheater.org