Broadway’s “Othello” Achieves Record-Breaking Previews Amidst High Ticket Prices
Amidst a palpable atmosphere of apprehension, the surge in popularity of a 400-year-old tragedy on Broadway is perhaps unsurprising. “Othello,” a new production of Shakespeare’s classic infused with Hollywood star power, has garnered significant attention for its box office success. Starring Denzel Washington and Jake Gyllenhaal at the Ethel Barrymore Theatre, the play generated $2.8 million during a preview week, marking the highest single-week gross for a non-musical production on Broadway. This achievement is partly attributed to orchestra seats reaching an exorbitant $921.
Luxury Broadway: “Othello” Leads Trend of High-Priced Productions
The steep ticket costs are not unique to “Othello.” Productions like “Glengarry Glen Ross” and George Clooney’s “Good Night, and Good Luck,” also featuring prominent stars, command similarly high prices. The current season has seen lucrative returns for celebrity-driven Shakespearean plays; “Romeo + Juliet,” starring Rachel Zegler and Kit Connor, recouped its $7 million investment before concluding its run last month. “Othello,” even prior to its official opening, has become emblematic of a Broadway trend prioritizing luxury experiences and status symbols over accessible entertainment, showcasing renowned Hollywood actors in a fiercely competitive and exclusive market. (Editor’s Note: This publication, facing denied press tickets, procured a middle orchestra seat for $400.)
Minimalist Production Focuses Attention on Star Performances
Ticket prices, while noteworthy, are separate from the production’s inherent merits. However, the astronomical cost looms over this minimalist, almost stark staging. This production places significant emphasis on the performers’ interpretations and, arguably, falls short of reaching the transcendent heights warranted by its price. Directed by Tony Award winner Kenny Leon, who previously directed Washington in “Fences,” this austere and somewhat underwhelming rendition of Shakespeare appears to acknowledge that audiences are not necessarily paying for a revival of this specific play. “Othello” itself, absent from Broadway since 1982, still offers profound insights into masculinity, human frailty, and race, even centuries after its inception. Instead, the allure lies in the opportunity to witness Gyllenhaal, a celebrated actor of his generation, and particularly Washington, lauded as a preeminent stage and screen performer, live and in person.
Washington and Gyllenhaal: Powerful Performances in a Sparse Setting
“Othello” serves as a platform for these two formidable talents to interpret Shakespeare’s language with their distinctive styles. Through their considerable charisma, they effectively convey both the narrative arc and the emotional subtleties of this tragedy, potentially to an audience not fully versed in the text. The production design by Derek McLane is deliberately bare, featuring minimal props – occasionally modern military accessories like fatigues and laptops – and peeling columns. A projected message at the beginning situates this classic drama in “the near future,” maintaining Venice (and later Cyprus) as the setting. However, Gyllenhaal’s cunning Iago, in his initial appearance, might evoke a hustler in a Bushwick club rather than a Venetian villain. His intensely lit eyes and the predominantly blue-white floor lighting (designed by Natasha Katz) lend the production, especially the monologues, a concert-like ambiance reminiscent of the Colosseum ruins.
Star Power Carries “Othello,” But Production Falls Short of “Greatness”
Star power is undeniably central to this “Othello,” though it does not entirely elevate it to the status of Broadway’s most memorable productions. Washington, at 70, embodies the gravitas of a seasoned statesman as the vulnerable Venetian general – a role he first undertook at age 22. This casting choice creates a poignant duality: a respected military leader, portrayed by an equally esteemed actor, undone by sudden insecurity. However, it also creates a slight disconnect; his rapport with Desdemona (played by the younger Molly Osborne, whose American accent is occasionally distracting) feels more paternal than marital, despite Washington’s efforts at charm and seduction. Washington delivers moments of captivating eloquence as Othello succumbs to jealousy, moments that justify, in isolation, the high ticket price. Yet, the overall performance conveys expert competence, rather than profound depth.
Gyllenhaal’s Iago Steals the Show in Otherwise “Muddled” Production
The production’s highlight is undoubtedly Gyllenhaal’s performance. He embodies Iago’s duplicity with captivating intensity, making the character’s manipulative nature mesmerizing. His opening monologue, a venomous denunciation of “The Moor” that resonates pointedly with contemporary themes of racial prejudice, is spellbinding. Gyllenhaal’s Iago is alternately preening, desperate, boastful, and plaintive, effortlessly manipulating the naive Cassio (Andrew Burnap) and the gullible Roderigo (Anthony Michael Lopez), as well as Desdemona and Othello themselves. Gyllenhaal’s portrayal provides the most compelling and entertaining performance throughout the play’s lengthy duration.
Final Assessment: Competent but Uneven “Othello” May Satisfy at a Price
The remaining aspects of the production are less cohesive. Inconsistencies in details and delivery abound – Italian polizia alongside American uniforms, Iago’s prejudice against a Black general juxtaposed with his marriage to Emilia (portrayed by Black actress Kimber Elayne Sprawl). Even Washington, in the play’s tragic conclusion, appears somewhat disoriented by his character’s descent from hero to villain. While Washington’s Othello remains consistently engaging, the entire production, though competent and spirited, is ultimately burdened by immense expectations – perhaps just enough to appease those concerned about missing out on Broadway’s latest star-studded event.