Peter Sellars, a director and librettist known for his wild interpretations of classic works (a puppet version of Wagner’s “Ring Cycle,” for example), once challenged iconic author Toni Morrison on the relevance of Shakespeare’s “Othello.” Sellars maintained that the play had been canonized to death and no longer had a place in contemporary theater. Morrison countered with the opinion that the overarching themes were timeless. A challenge was issued — a friendly handshake bet between creative giants. For his part, Sellars produced a futuristic “Othello” at The Public. Morrison responded with the quietly powerful, “Desdemona,” a new take on an old story that thrusts Shakespeare’s doomed leading lady into the spotlight, addressing topics of race, gender, war and love.
This month, Fringe Theater celebrates Black History Month by bringing “Desdemona” to life on stage. The title character, played here by Martha Hooten, seen last year in Fringe Theater’s “The Pride,” still lives the tragedy that was always prescribed for her. In this case, though, she’s been humanized; she’s no longer a victim. Hooten gives voice to Desdemona, speaking to her former nurse, Barabary, when they meet in the afterlife as equals, after having been separated by hierarchical structure in their living days. Barabary, the name a reference to the Barbary Coast in North Africa and to the original “Othello” character of Barbara, is played by Su Nubia. Nubia has been a fixture at Fringe for several years, keeping the tech and the behind-the-scenes gears running smoothly. “Desdemona” is her first time acting in a full production.
The tension in Morrison’s play comes as the two women exchange powerful ideas as they recall difficult and violent experiences. Hooten and Nubia promise strong performances, but Tomlinson has also worked in additional elements that are critical to conveying Morrison’s original vision. The original productions of “Desdemona,” in Paris and Vienna, were lauded by critics for their musicality and poetic nature. In Tomlinson’s vision of “Desdemona,” those elements remain center stage. Choreographer Sheila Bellefleur has designed the movement of the play, creating a composition out of the two bodies on stage. Videographer Aramis Ikatu and lighting designers RJ Conn and Kendall Camerson have included media to expand the visuals of the play, while singing bowl musician Daashia Cochran lends otherworldly musicality to the piece. Tomlinson notes that the two actors also played a role in developing the sound design for the play.
“Desdemona” will play at the Sidebar of Aqua through Feb. 22. Due to early positive response to the play, Fringe has added a special happy hour performance at 5 p.m. on Saturday, Feb. 22. Cocktails in a favorite Key West gay bar, classic literature and contemporary stagecraft — what better way to spend a Saturday afternoon?
“DESDEMONA”
Through Saturday, Feb. 22
Aqua Sidebar, 504 Angela St.
8 p.m. showtime
Tickets: fringetheater.org
