January 19, 2023
Equus at Theatre Royal Stratford East: Insanity Beyond Reproachby Randi / March 19, 2019It’s Theatre Thursday! Today’s show is Jesus Hopped the “A” Train, playing at the Young Vic until April 6.
I love going into shows blind, knowing as little as possible about the plot or even what type of show it is. With Jesus Hopped the “A” Train, I have never been so surprised by a show’s subject matter. Even though the play is from 2000, I managed to miss it the first time-round (‘twas a child) and so with that intriguing title, my brain assumed it was about trains, and probably Jesus. It is not about trains, though it is sort of about Jesus, or religion in general. What Jesus, A Train! (best fake title) really is about is the horrors of the United States prison system, a subject that needs to be spoken about more and in harsher words. This play, by Stephen Adly Guirgis, definitely understands the need to denounce the broken system, but the result is more like a set of speeches than a play.
That’s great for actors preparing for auditions, since the monologues in this show are often powerful and seem important, perfect for showing off out of context. But it’s not great for a cohesive drama, with a plot, with a dramatic purpose. It’s two hours of monologues. Even the ‘dialogue’ between characters is, if you look closely, really a monologue followed by a one word response, lather rinse repeat. With this composing the show, you see that Guirgis had a lot of important things to say, a lot a lot, but without fitting these thoughts into a structured drama, it’s unclear what he’s actually saying.
As for the thin narrative, it’s about a young man who is imprisoned for shooting a despised cult leader, an act of violence that by all accounts is warranted, but vigilante justice isn’t rewarded when the perpetrator is a man of color. Following the imprisonment and trials of this young man, Angel Cruz, we see – no, we are told – how broken the American justice system is, how awful prison is, how unhinged prison guards are. This is all true, if not novel. But then Angel’s plight isn’t simply due to the system; it’s due to his shitty lawyer, Mary Jane Hanrahan, who shows off several times how bad a lawyer she is, with her most egregious, to me, mistake being her failure to share an offered plea deal with her client (I mean, literally gtfo). She also instructs him to lie without mincing her words, as you normally do, such that Angel breaks down in court and incriminates her and gets her disbarred. Which she deserves, sure, but why didn’t he get a mistrial? Why didn’t the court grant him another lawyer and trial? Why does Mary Jane also have SO. MANY. MONOLOGUES? The b.s. of the Mary Jane business was distractingly annoying.
So Angel is in Rikers with an amiable prisoner played by Oberon KA Adjepong. Oberon, as I’ll refer to him because I can’t remember the character’s name and there’s no way in hell it’s better than Oberon, is terrifying yet charismatic, the mark of a true serial killer – which, it turns out, he is! Oberon is hell-bent on saving Angel’s soul by getting him to find Jesus, as he himself has during his incarceration, and the two convicts have long, long-winded monologue-fights about what it means to seek forgiveness, what it means to find god, why it’s important. There are some nice thoughts bandied about in these scenes, but overall, the content is unfocused and unconvincing. Lucius (ah that’s his name! not as good as Oberon!) WAS A SERIAL KILLER. I don’t care how much you pray to god, you don’t deserve forgiveness. You joke still about how you killed more than eight people but they only caught you for eight, ha ha, and how some of them were white so they don’t count, ha ha, and you want to convince us that you deserve any semblance of forgiveness? Give me a g-d break! Are we supposed to connect with his rants about forgiveness and religion? Are they supposed to make us go, ‘hm that really makes you think’? Because instead, his monologues successfully make you agree that he deserved to die in prison. I guess all the Jesus talk could have been an interesting comparison between the lunatic killer’s belief that he’s going to be saved versus the kinder, gentler convict’s refusal to think that way, but what comes across is mere proselytizing that doesn’t land. Oberon was a captivating performer, save for the several moments he got tongue-tied, but with endless monologues to memorize, that’s forgivable, unlike the character he’s playing.
One of the worst, WORST, trends in London theatre this past year, is on full parade at Jesus, A Train. The Young Vic and director Kate Hewitt have decided to deafen, and annoy, its patrons by marking scene changes with a BANG! And I mean a loud forking BANG! I don’t know who decided this was the cool way to change scenes in London recently, but hear me now, fools: it is not. It doesn’t jar the audience in a thoughtful way, if that’s what you were going for; it doesn’t demarcate the difference between drama and reality, if that’s what you were going for; it doesn’t remind the audience of all the world’s troubles in a visceral way, if that’s what you were going for. All it does is forking PISS US OFF. It doesn’t help that that other favorite trend of London theatre is also in full use here: nonstop smoking. This isn’t the ‘50s, guys; it doesn’t do much to define a character to have him smoking the entire play. It’s just silly.
The bright spot is Ukweli Roach as Angel Cruz, who I would have sworn was American. Ukweli captures that difficult role of being a tough young man capable of, well, killing, who also is incredibly sympathetic. Unlike for Lucius, you do feel that Angel deserves better than he got, which is a huge feat considering how little the actor actually gets to play with. Guirgis has created such defined characters, but he doesn’t use them to their fullest potential to convey whatever it is he’s actually trying to say.
INFORMATION
Jesus, A Train! is playing at London’s Young Vic until April 6. It is two hours, with a 15-minute intermission, which is the best kind of show structure. If you go, bring ear plugs and a face mask. It is in the round, another overused, under-considered ploy of this year.
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“When We Were Young And Unafraid” at City Center: Harrowing & Timely Portrayal of the Wimmins
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*Okay, I know this show is no longer on the boards. But I wrote this while it was still playing. And it’s a great play.
So, let’s just get this clear straight off: This show had nothing to do with Les Mis! Even though every time I think of the title I’m singing it, there was no reference to old timey France at all. I know! WWWYAU (this is not a good acronym I won’t use this again) is effectively a character study amid various growing ideals of feminism. Four women, with wildly different ideas about where and how women fit in the world, interact in a safe house in the 1970s, run by the president of all things Acting, Cherry Jones. |
The inimitable Queen Jones plays Agnes, a strong, independent woman running a B&B that we quickly learn doubles as a safe house for battered women when they finally (though not always permanently) leave abusive relationships. Agnes fought through two wars as a nurse, and her resulting strength and no-bullshit style is evident at all times. We learn that this badass mofo lost her nursing license by providing abortions. So you are just totally pulling for her to win, even though there’s no real contest to win or lose, just life. Also, she lives on a very remote island in I think Washington state surrounded by what’s appropriately called “Useless Bay” because it’s too shallow for ships to pass through. So I don’t know what she could win at besides the silent game.
She also rocks at not taking bullshit. This is one of my favorite qualities in a person, so Agnes was like my jam. One of the characters says to her, “Anger is like an art form with you,” and it’s true both of Agnes and Cherry Jones. Jones is one of the best stage actresses alive, probably the best non-singing one, and she does complicated and diverse levels of yelling like you can’t even imagine. It’s a treat to watch her perform and bring whatever she is in to a higher level. I never watched “24” but I imagine she made that almost like 25.
A lot of her yelling comes about because of her 16-year-old daughter Penny, played by Dana Brody playing Dana Brody. Her acting style was apparently learned from the school of speaking breathlessly and fast in such a way that you know her brain is pushing words out faster than her mouth can keep up so it sounds like gargling gibberish…but somehow it always works. Her bad enunciation and too fast brain make her a very believable teenager. She should play teenagers her whole life. Her words come out like she has a slushee machine instead of an esophagus. You catch the gist and she spews so well but the whole time she’s speaking you’re thinking why am I suddenly covered in slushee?
Penny introduces herself to us as a very headstrong, very awesome future writer for Jezebel, lamenting the idea of prom and wearing dresses in general as traditions – in her words (paraphrased) – developed by the patriarchy that place females on display and require looking nice and demure as they apologize for having a vagina. She says some pretty amazing stuff like that, but I can’t remember any more because it was covered in slushee.
Anyway, like most teenagers, she disappoints. Most of her energy soon switches focus to getting the captain of the football team to ask her to prom and then be her way-too-serious boyfriend. The whole football team captain is kind of clichéd but then again so is everything in life. She accomplishes her goals by ignoring and skipping good chunks of school, which is really stupid because she says she wants to go to Yale. (Which is also really stupid HEYOOO).
Penny also gets some really cringe-worthy advice and assistance from Maryanne (a gripping Zoe Kazan), the latest abused wife to seek refuge at Agnes’s. Maryanne seems like the quintessential ‘60s-‘70s housewife, apologizing for male chauvinism like it’s her fault for existing in their world, and teaching Penny how to charm any man: by using a babyish voice, acting stupid and needy and unable to survive without him around to chew up food and spit it in her babybird mouth. It’s all very upsetting because there are women today who still think it’s best to act like that and sacrifice any semblance of independence or ability in order to keep men happy, and of course there are shittastic men who fancy that kind of behavior as well. F the patriarchy.
So we hope that Penny will realize, like, hey Maryanne…look where your advice got you, with a crazy abusive husband who doesn’t respect you as a real person even a little bit and gets crazy violent when he realizes he might not have full control over you like a toy. But instead Penny’s like yay he plays football and I’m going to cheer for him instead of doing homework and we’re going to prom which is like the coolest and we’re gonna get married even though I’d need parental consent and Agnes would never because she’s smart.
In the midst of all these new family problems, we learn that Agnes is not actually her mother. Penny’s birth mother was one of the battered women who came to Agnes for help (and was actually friends with her beforehand), gave birth in the room of the house that we stare into the entire show, and then abandoned the baby and ran back to her abuser, who promptly killed her. Penny KNOWS ALL OF THIS. So it’s all too sad when she makes the same mistakes and follows the same path as Maryanne and her mother. It shows how ingrained the subservient role of the woman was (and still is), and how her main role was to find a husband, and even if that husband beat her it was better than being unmarried. This sick world. And there are too many people who still think like that, or blame the woman for doing exactly what the world told her she was supposed to do. Grahhhhhh.
Looking at all of this awfulness and shaking her head is Hannah (Cherise Boothe, completely awesome), a black super feminist searching the region for a group she heard was establishing an all-female lesbian commune. While Hannah’s version of ideal feminism is troubling as well (pretty much, if you aren’t a lesbian, you aren’t a feminist), it’s somehow so much better than Maryanne and Penny’s little game. Hannah would have loved Lorena Bobbit. Hannah is kind of crazy but in a fun way – she enters the house by climbing through windows and making everyone fear a burglar, and she doesn’t know how to be respectful of others or say thanks but eh she’s alright. Most of all, she’s a necessary counterpart to Maryanne.
The most powerful and the most depressing part of the show came when a celebratory Hannah stopped by to inform Agnes of the Roe v. Wade decision. She excitedly shouts “Things are changing!” and Agnes calmly takes a breath and responds, “They’ll change back.” The jaw-dropped silence that swept the audience said more about our current society than any words can. This tiny line and its reading perfectly described the past few decades and what is constantly happening to abridge womens rights.
Another very emotional and realistic hit came when Maryanne and Paul, a guest at the B&B, start to flirt with each other. Paul is an extreme suspenders kind of guy, very mild-mannered and seemingly ‘nice’. Later, Paul kisses Maryanne, not knowing any of her history, and she understandably freezes and then pushes him away. This guy we thought was so nice yells at her for being a tease, saying that she was begging him for this and now she’s tricking him with her female trickery and big eyes. So we thought Paul was one of the good ones but he was just another assclown wearing an asshat who thinks women only exist to satisfy men’s needs and doesn’t like when he is proven wrong. It was revolting but accurate. But then of course poor weak Maryanne is like “No Paul don’t call me names I’ll do whatever you want and then we can leave here together and have babies in San Francisco”. Ughhhhh why are peopleeeeeeeeeee.
So yeah, this play is intense and can be disturbing in its very complicated and accurate depictions of various sorts of mindsets. If anything, it tells the audience that we have so much work still to do, to not only achieve gender equality but to just get people to realize that yes we do want that.
Or at least I think that’s what it was about; there were a lot of phones going off. Seriously people these are your tasks: a) Realize that being a feminist just means not being an asshole, so yes you do want to fight to be one and be proud to be one, and b) turn off your phones in the theatre.
“Othello” at Shakespeare’s Globe: Men Be Trippin
It’s Theatre Thursday! We’re talking about Othello, playing at Shakespeare’s Globe in London until October 13.
Othello is a bananas insulting play. We don’t need to hold Shakespeare to the standards of modern society in terms of equality (mainly feminism (and racism) (okay all equality kinds)) because the 400 year difference in eras makes that a fool’s errand, and pretty much all of Shakespeare’s works can be excused as ‘old-fashioned’ or ‘a product of its era’ in terms of equality and feminist ideals. But, hoo boy, Othello is a special one. It’s been a minute since I read it, so the details outside of ‘bad man convinces other man that wife is cheating and should die’ had fled my mind, but now that my memory has been refreshed, well there’s not much more I’d add to that gist. Not the most progressive stuff in this day and age, but the current production at the Globe, starring my man Mark Rylance, is faultless (other than the plot obvs), and it’s a must-see for any fans of Shakespeare, Mark, and/or theatre. What a fantastic production that will make you feel like you just got punched in the throat.
Othello is a bananas insulting play. We don’t need to hold Shakespeare to the standards of modern society in terms of equality (mainly feminism (and racism) (okay all equality kinds)) because the 400 year difference in eras makes that a fool’s errand, and pretty much all of Shakespeare’s works can be excused as ‘old-fashioned’ or ‘a product of its era’ in terms of equality and feminist ideals. But, hoo boy, Othello is a special one. It’s been a minute since I read it, so the details outside of ‘bad man convinces other man that wife is cheating and should die’ had fled my mind, but now that my memory has been refreshed, well there’s not much more I’d add to that gist. Not the most progressive stuff in this day and age, but the current production at the Globe, starring my man Mark Rylance, is faultless (other than the plot obvs), and it’s a must-see for any fans of Shakespeare, Mark, and/or theatre. What a fantastic production that will make you feel like you just got punched in the throat.
It’s so important to see this production that I was a GROUNDLING for the first time. In a nod to authenticity, the Globe in London still has the whole floor (where the stalls/orchestra seats would be in a normal theatre) reserved for the po-pos, called groundlings, who stand wherever they want and push each other around and tend to display all kinds of boorish behavior (-100 points!) for only 5 pounddollars! Three hours of standing for only $5, how lucky AM I? People love the groundling experience, and I will admit that it was very cool to see Shakespeare in the tradition of how people saw his plays back in the day, but only for like 20 minutes and then my feet hurt.
As for the plot aside from my barebones recounting of it above, I was a little confused at the beginning because, as a groundling, I was trying to get used to said boorish behavior of those around me. STOP TALKING IN THE THEATRE, EVERYONE! But I caught on. So there’s this skinny blond rich twink named Roderigo who is sad because he’s in love with a lady named Desdemona (sure you are) and she just secretly married a black man named Othello, and Roderigo is like how dare a woman marry who she loves. Roddy’s doing all his manly complaining to his friend Iago (dun dun DUNNNN) who is an officer, and Iago is like ‘okay I can get on board with hating this couple because Othello, the general of the army, just promoted this dude Cassio instead of me, even though I’m clearly a respectable soldier who isn’t proving Othello’s decision right or anything with my scheming, no way.’ Othello is a moor from Venice which means he is dark-skinned and everyone back then (lol not now no sir) was hella racist so that plays into the men’s distrust and dislike of him as well. They start plotting against Othello, although Roddy doesn’t really seem into the deathly parts but maybe I missed that because I was distracted by his appearance like he was waiting for the clubs to open in Barthelona. Iago is played by the great Mark Rylance in a real departure from his usual characters, since he is SO LOVABLE and Iago is NOT. His Iago contains some of Mark’s trademark awkwardness and is a little doofy so his evil is really not obvious. Sometimes his portrayal didn’t really jive for me because I was concerned that he was like confused from a head injury. It’s a very different take but it makes sense that no one would suspect this sometimes-bumbling fool to be plotting super bad things.
As for the plot aside from my barebones recounting of it above, I was a little confused at the beginning because, as a groundling, I was trying to get used to said boorish behavior of those around me. STOP TALKING IN THE THEATRE, EVERYONE! But I caught on. So there’s this skinny blond rich twink named Roderigo who is sad because he’s in love with a lady named Desdemona (sure you are) and she just secretly married a black man named Othello, and Roderigo is like how dare a woman marry who she loves. Roddy’s doing all his manly complaining to his friend Iago (dun dun DUNNNN) who is an officer, and Iago is like ‘okay I can get on board with hating this couple because Othello, the general of the army, just promoted this dude Cassio instead of me, even though I’m clearly a respectable soldier who isn’t proving Othello’s decision right or anything with my scheming, no way.’ Othello is a moor from Venice which means he is dark-skinned and everyone back then (lol not now no sir) was hella racist so that plays into the men’s distrust and dislike of him as well. They start plotting against Othello, although Roddy doesn’t really seem into the deathly parts but maybe I missed that because I was distracted by his appearance like he was waiting for the clubs to open in Barthelona. Iago is played by the great Mark Rylance in a real departure from his usual characters, since he is SO LOVABLE and Iago is NOT. His Iago contains some of Mark’s trademark awkwardness and is a little doofy so his evil is really not obvious. Sometimes his portrayal didn’t really jive for me because I was concerned that he was like confused from a head injury. It’s a very different take but it makes sense that no one would suspect this sometimes-bumbling fool to be plotting super bad things.
WHY DO YOU WANT TO BE A LOBBY BOY?
But plotting bad things he is! He does all kinds of dastardly little things like leaving handkerchiefs in telling places and whispering sweet nothings into Othello’s ear to make him doubt his wife. He of course has to bring Cassio into this, the man who got the promotion instead of him, and take him down too by having it look like Desdemona and Cassio are having an affair. I think we’re supposed to maybe feel sorry for Othello that he is so easily tricked by Iago but like, dude, how about talk to your wife first instead of killing her? But like also even if she was cheating, she doesn’t deserve to die, man, just get a forking divorce. MEN ARE SCARY. More on that later.
Othello was played by Andre Holland, the actor from ‘The Knick’ but really ‘Moonlight’ because I never watched ‘The Knick’. I’ve never seen or heard of him doing Shakespeare or anything of the sort before, and he was wonderful. He seemed so comfortable on this very challenging stage, and when you can hold your own against Mark Rylance, who kind of is the Globe theatre, you’re prettayyy awesome. Most of their supporting cast was great too. Jessica Warbeck’s Desdemona was solid, and given that I think Desdemona kind of sucks to play (she doesn’t do anything except be nice (and kind of bland) and then she dies and like isn’t mad) she seemed to be dedicated to her role. Aaron Pierre’s Cassio was one of my favorites, probably because he is the only decent man onstage. And let’s talk about Sheila Atim as Emilia, Iago’s wife. Not that I’d in a million years buy her married to Mark Rylance, but she is so magnetic and watchable in anything, even when she’s not singing. But they shoeshorned a few musical moments into this play literally just to make her sing (she did just win an Olivier for a musical), which I fully appreciated even if it was a little too shoehorny. But my god, she is so good. You kind of want to scream at Emilia for helping her husband with the whole planting the handkerchief scheme, and sure she doesn’t know that he is so wickedly scheming and she’s just having fun with her husband but like come on don’t be so daft. But you can’t be mad at Sheila Atim.
Also Sheila looked absolute FIRE in her space-age golden jumpsuit with shoulder pads straight out of the closet of a Star Trek Admiral’s closet. I almost yelled ‘fire’ too which is bad/illegal in a crowded theatre and extra bad considering this one’s burned down before but DAYUM. The costumer clearly loved Sheila and hated Jessica, though, because Desdemona’s Act II black velvet-looking gown was notttt flattering, mostly because it had my most-hated fashion don’t – cut outs in weird places. This dress fell victim to the worst culprit of all – the chest cutout, so somewhere between the neck and the cleavage there was an oval of missing fabric. THIS IS NOT A GUD FASHUN, EVERYONE. It’s actually really important to get the costumes right because in this instance it was so unattractive and misguided that for a second I was like ‘ugh kill it’ and then like, he did.
So let’s circle back now to the whole ‘Othello killed his wife because he thought she was cheating, but she wasn’t, so it’s sooo sad’ thing. Say this out loud with me: Even if she was cheating, she doesn’t deserve to die! It still would have been sad if Iago was right and they were having an affair because it would be a man taking justice into his own hands and really doing all he can to one-up his wife’s wrongdoing by doing a MURDER. It is not sad because an innocent woman died; it is sad because a woman died. I feel like Othello’s remorse at the end when he realizes Desdie wasn’t cheating mirrors John McCain’s famed town hall answer to that racist blonde woman’s question. In case you didn’t see the video that was widely used after his death to show that McCain was ‘one of the good Republicans’, a horrible woman said she didn’t trust Obama because she read that he was an Arab. McCain answered, “No ma’am, he’s a decent family man.’ And PEOPLE ARE USING THIS TO PROVE WHAT A SAINT HE WAS. The good answer in this situation, in case you too are a racist monster, is ‘He’s not an Arab but ARABS CAN BE GOOD PEOPLE TOO’, not ‘he’s not an Arab AND SO he’s a good person.’ MAN ALIVE (Or in this case, not (too soon?!)). Anyway, so I see a connection between this bonkers but ‘light-level’ racism being used to shore up McCain’s persona, and Othello’s ‘oh my god I shouldn’t have killed my wife, she was faithful to me after all’ realization. BOTH ARE THE WRONG TAKES, MEN.
And so this play leaves me infuriated, because the message seems to be that jealousy is bad, and you should trust your wife, and you should communicate better, when it should also include a bit about not killing anyone regardless of their wrongdoing. In the same summer I saw Carousel on Broadway – unaltered in its portrayal of a serial abuser, and so wrongheaded in this day and age – I can’t help but just sigh loudly and groan that men are trash. I am, however, very pleased with this production and this cast and the Globe’s return to faithful interpretations of classics, and I definitely recommend you see this if you can, but like, ughhh.
Othello was played by Andre Holland, the actor from ‘The Knick’ but really ‘Moonlight’ because I never watched ‘The Knick’. I’ve never seen or heard of him doing Shakespeare or anything of the sort before, and he was wonderful. He seemed so comfortable on this very challenging stage, and when you can hold your own against Mark Rylance, who kind of is the Globe theatre, you’re prettayyy awesome. Most of their supporting cast was great too. Jessica Warbeck’s Desdemona was solid, and given that I think Desdemona kind of sucks to play (she doesn’t do anything except be nice (and kind of bland) and then she dies and like isn’t mad) she seemed to be dedicated to her role. Aaron Pierre’s Cassio was one of my favorites, probably because he is the only decent man onstage. And let’s talk about Sheila Atim as Emilia, Iago’s wife. Not that I’d in a million years buy her married to Mark Rylance, but she is so magnetic and watchable in anything, even when she’s not singing. But they shoeshorned a few musical moments into this play literally just to make her sing (she did just win an Olivier for a musical), which I fully appreciated even if it was a little too shoehorny. But my god, she is so good. You kind of want to scream at Emilia for helping her husband with the whole planting the handkerchief scheme, and sure she doesn’t know that he is so wickedly scheming and she’s just having fun with her husband but like come on don’t be so daft. But you can’t be mad at Sheila Atim.
Also Sheila looked absolute FIRE in her space-age golden jumpsuit with shoulder pads straight out of the closet of a Star Trek Admiral’s closet. I almost yelled ‘fire’ too which is bad/illegal in a crowded theatre and extra bad considering this one’s burned down before but DAYUM. The costumer clearly loved Sheila and hated Jessica, though, because Desdemona’s Act II black velvet-looking gown was notttt flattering, mostly because it had my most-hated fashion don’t – cut outs in weird places. This dress fell victim to the worst culprit of all – the chest cutout, so somewhere between the neck and the cleavage there was an oval of missing fabric. THIS IS NOT A GUD FASHUN, EVERYONE. It’s actually really important to get the costumes right because in this instance it was so unattractive and misguided that for a second I was like ‘ugh kill it’ and then like, he did.
So let’s circle back now to the whole ‘Othello killed his wife because he thought she was cheating, but she wasn’t, so it’s sooo sad’ thing. Say this out loud with me: Even if she was cheating, she doesn’t deserve to die! It still would have been sad if Iago was right and they were having an affair because it would be a man taking justice into his own hands and really doing all he can to one-up his wife’s wrongdoing by doing a MURDER. It is not sad because an innocent woman died; it is sad because a woman died. I feel like Othello’s remorse at the end when he realizes Desdie wasn’t cheating mirrors John McCain’s famed town hall answer to that racist blonde woman’s question. In case you didn’t see the video that was widely used after his death to show that McCain was ‘one of the good Republicans’, a horrible woman said she didn’t trust Obama because she read that he was an Arab. McCain answered, “No ma’am, he’s a decent family man.’ And PEOPLE ARE USING THIS TO PROVE WHAT A SAINT HE WAS. The good answer in this situation, in case you too are a racist monster, is ‘He’s not an Arab but ARABS CAN BE GOOD PEOPLE TOO’, not ‘he’s not an Arab AND SO he’s a good person.’ MAN ALIVE (Or in this case, not (too soon?!)). Anyway, so I see a connection between this bonkers but ‘light-level’ racism being used to shore up McCain’s persona, and Othello’s ‘oh my god I shouldn’t have killed my wife, she was faithful to me after all’ realization. BOTH ARE THE WRONG TAKES, MEN.
And so this play leaves me infuriated, because the message seems to be that jealousy is bad, and you should trust your wife, and you should communicate better, when it should also include a bit about not killing anyone regardless of their wrongdoing. In the same summer I saw Carousel on Broadway – unaltered in its portrayal of a serial abuser, and so wrongheaded in this day and age – I can’t help but just sigh loudly and groan that men are trash. I am, however, very pleased with this production and this cast and the Globe’s return to faithful interpretations of classics, and I definitely recommend you see this if you can, but like, ughhh.
