Othello is one of four offerings in the visionary Pop-Up Globe’s 2017 Auckland season.

It is certainly apparent that the season has been well received by the normally frigid Auckland audience scene, as an already generous season has been extended to cater to demand.

The Globe replica itself is a stunning architectural feat. The Oracles of the Pop-Up Globe, Dr Miles Gregory and Tobias Grant, certainly stepped-out to realise a hugely ambitious dream. The aspiration to stage Shakespeare as an extraordinary experience in an authentic Jacobean setting was only the beginning. Now in its second season, having called many thousands to its stage, with a devoted team of 80+ people, this ‘deadly’ duo must be applauded for not only accomplishing but surpassing an inspired vision.

Notably this particular play was translated by the acclaimed Māori Scholar Pei Te Hurinui-Jones in 1944 and aptly named Owhiro. This Maori term is not a direct transliteration but a cultural adaptation. It means “Of Whiro” and refers to Whiro who is regarded in Māori cosmology as a celestial deity of jealousy, deadliness and poisonous intent. So Hurinui-Jones posits most accurately the principal facet of Othello.

Iago (Haakon Smestad) vents his hatred of Othello (Te Kohe Tuhaka) for promoting Cassio (Darryl Green) instead of himself. Iago’s confidante Roderigo (Kieran Mortell) swoons in unrequited love for Othello’s wife ‘to be’ Desdemona (Jasmine Blackbarrow). Brabantio (Phil Grieve), father of Desdemona, hears of his daughter’s desires to marry a Moor and in disgust charges him with witchcraft. So the chaos is set with lethal schemes to destroy Othello closing in.

Haakon Smestad’s performance as Iago is outstanding. Smestad’s distinct ability to deal with some of the most demanding theatrical work is astonishing as he slashes the air with oratorical prowess all the time retorting keenly to jeers from a heckling crowd.  

Te Kohe Tuhaka as Othello is suitably gallant and an arresting specimen of Ngāti Porou and Tuhoe lineage. So much so that Tuhaka’s entry clearly steals the breath of the first row of young women, followed with a vigorous applause. And all he’s done is enter. No word of a lie. Te Kohe’s work is commendable, firstly as he follows in a long line of great ones to don the Venetian soldier’s cloak. Secondly, it is simply hard work. However with a strong chorus whirling around him, cajoling with comedic wit and plying into the noxious twists, Tuhaka’s efforts hold fast.

Jasmine Blackbarrow as Desdemona is astounding. Her delicate youthfulness flips between intense passions and her womanhood unfolds before the audience’s eyes. As the storms of jealousy close in, Blackbarrow unravels Desdemona into one of the most intricately emotional states that can ever be experienced in a Shakespeare performance.

Roimata Fox, who plays the maid Emilia, is a complement to Blackbarrows’ sensitive twists and turns, standing constant to the winds of the ensuing tragedy.

Director Ben Naylor has orchestrated a remarkable feast for the senses, crafting rich performance textures mixed with beautiful design aesthetics in music and costume. Chantelle Gerrard’s clothing designs are luxurious and beautifully crafted. Paul McLaney has also composed a soundscape that enriches the entire production. It is fascinating to hear distinct Jacobean elements that at some points fuse into Afro-Funk rhythms. All of these features again have been exceptionally moulded by Naylor into a definite accomplishment of Shakespeare celebration.

Bette Midler once said, “The worst part about success is trying to find someone who is happy for you.” Well, irrefutably the audience, being in the many thousands, want more. Therefore, with regards to a dynamic and tempestuous industry, congratulations must be made again to the entire Pop-Up Globe squad for your incredible victory.

Mauri Ora  

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The storm clouds swirling above the open roof of the Pop-up Globe seemed to hold a mirror to the wild passions unleashed in an intensely emotional staging of Othello.

The play’s volatile combination of love, jealousy and betrayal brings us face-to-face with the extremes of human behaviour and the production has taken to heart the “nothing extenuate” recommendation that Othello offers to those who re-tell his tragic story. [More] 

Copyright © in the review belongs to the reviewer