Othello
Race and Blackness in Elizabethan England, with Ambereen Dadabhoy
Shakespeare Unlimited: Episode 168 When did the concept of race develop? How far should we look back to find the attitudes that bolster white supremacy? We ask Dr. Ambereen Dadabhoy, an assistant professor of literature at Harvey Mudd College, and…
ENCORES: “‘Othello was My Grandfather’: Shakespeare in the African Diaspora” Lecture by Kim F. Hall (2016)
Folger Public Programs is pleased to present ENCORES, a weekly online series highlighting past performances and recalling the rich history of programming on the historic Folger stage. See an excerpt of Kim F. Hall’s lecture “‘Othello was My Grandfather’: Shakespeare…
BECOMING OTHELLO! A gender-flipped journey onstage and in the archive
Debra Ann Byrd writes about encountering an early female Othello in the Folger collection and developing her memoir and solo show, Becoming Othello.
Excerpt — Keith Hamilton Cobb’s ‘American Moor’: An introduction by Kim Hall
At the heart of Keith Hamilton Cobb’s one-man play American Moor are explorations of blackness, racial dynamics in American theater, “ownership” of Shakespeare, and the subtext of Othello. He has performed the play across the United States, including an off-Broadway…
Shakespeare and opera: Jealousy and tragedy in Verdi's Otello
Leah Crocetto (Desdemona) and Russell Thomas (Otello) in WNO’s Otello. Photo by Scott Suchman. I find it fascinating that Verdi’s last two operas were both inspired by Shakespeare: Otello (1887) and Falstaff (1893), yet they are very different in story,…
Desdemona and Emilia: The testament of female friendship in Othello
Desdemona and Emilia’s friendship inspires resistance and the courage to speak the truth, resulting in Iago’s exposure and Desdemona’s exoneration.
Iqbal Khan
Shakespeare Unlimited: Episode 128 “If, with Shakespeare, we can thrill and tease an audience into embracing unknowing, that is one of the most important gifts that we can give,” says director Iqbal Khan. Khan has directed at Shakespeare’s Globe, in…
Shakespeare, improvisation, and the art of rhetoric
Shakespeare characters like Viola and Iago are masters of improvisation, says Folger Director Michael Witmore in this excerpt from the 2017 Shakespeare’s Birthday Lecture.
Phyllida Lloyd and All-Female Shakespeare
In 2012, the Donmar Warehouse opened an all-female production of Julius Caesar, directed by Tony Award-nominated director Phyllida Lloyd and starring Harriet Walter as Brutus. The production was set in a womens’ prison, and would be the first of a trilogy of all-female productions. Julius Caesar was followed by Henry IV (parts 1 and 2 combined) in 2014, and ending with The Tempest in 2016.
What's my line? Exploring promptbooks for Othello
Promptbooks let us peer into the minds of some of history’s greatest theater-makers and see how they imagined Shakespeare’s plays.
Comparing Timon of Athens with Iago
Timon of Athens vs. Iago! Actors Ian Merrill Peakes and Louis Butelli discuss these Shakespeare characters, their degree of self-awareness, and their villain status.
Tracy Chevalier: New Boy
Shakespeare Unlimited: Episode 74 Tracy Chevalier, author of Girl With a Pearl Earring, takes on the tragedy of Othello in her latest novel, part of the Hogarth Shakespeare series. But in a twist, she moves the action to a public…