Othello

The tragedy of the jealous and trusting Moore concludes the Shakespearean trilogy (with Hamlet and Macbeth produced earlier) only formally, and matter-of-factly stands out among the works of the theater magician. That is understandable. Nekrosius is inclined to metaphysical paradox, he likes to operate with abstract categories and squabble with the underworld, whose existence he, like any intellectual, questions every now and then. But, unlike the plays of Danish Prince and Scottish tyrant, Othello hardly offers an opportunity for metaphysics. In this tragedy what matters more is psychology, relationships between the characters, and realization of the most powerful of human emotions – love, envy, jealousy. Nekrosius did not resist the nature of the text. His most recent production lacks the symbolic density that used to boggle the mind, the entire stage ambiance seems sparse, and the theatrical text feels simpler and easier. That said, this production in somewhat more significant for the modern stage than the ingenious Hamlet and the stunning Macbeth.