“Othello,” for the most part, is considered to be one of Shakespeare’s best works, and there have been many attempts at all levels of theatre development to present the lengthy tragedy. Few succeed, many are just plain mediocre, and some miserably fail to convey the complexity of the characters, that are simply embodied by the intriguing script and poetic language. Then, there is the recent production of “Othello” by Bedlam, under the astute direction of Eric Tucker, that presents the eight-character masterpiece with a cast of four incredible actors playing all roles. What elevates this production to a new level is the actors’ capacity to understand the soul of their characters, and their ability to comfortably deliver Shakespeare’s language with ease and clarity. This clever production focuses more on the psychological torture put upon Othello, that finally drives him into an uncontrollable psychotic state of jealousy.

The story begins as Iago becomes outraged that Othello, a Moorish general in the Venetian army, has promoted Cassio to Lieutenant over him and he begins to plot his revenge. He convinces Rodrigo, a Venetian nobleman, that Desdemona, who is Othello’s wife, secretly loves him, and he can help him capture her heart. The action moves to Cyprus where Othello is to command Venetian forces against the Turks. Iago gets Cassio drunk and his boisterous behavior results in him being demoted. Iago convinces Othello that Cassio is having an affair with Desdemona. Emilia, Iago’s wife and Desdemona’s attendant, retrieves an important handkerchief that was gifted to Desdemona by Othello when they married, after it is dropped in the courtyard. Emilia gives it to Iago who in turn gives it to Cassio, which will be proof he is having the affair. When Othello sees Cassio with the handkerchief, he is outraged by the betrayal. In his jealous rage he kills Desdemona in their bed. Emilia reveals the truth and evil plot, and Othello kills himself when he realizes his tragic mistake. Themes of racism, prejudice, betrayal and misconception are evident, while toxic misogyny exists at the forefront.

Mr. Tucker also takes on the role of Iago. His portrayal brings a calm and matter-of-fact attitude, which in turn makes his revengeful plot even more disgraceful and evil. His nonchalant, comedic flips only intensify his deceit and arrogance. Ryan Quinn delivers a refined Othello who simmers into a boiling pot of jealous rage. His turn as Bianca, Cassio’s desperate lover, is absolutely charming and effective. Susanah Millonzi conjures up a wise and intuitive Emilia and a naïve and foolish Rodrigo. Susannah Hoffman creates a sincere and innocent Desdemona and devoted Cassio. There are no costume changes, and each of the cast members interprets their characters with a change in posture and vocal demeanor, that is instant and precise at every turn.

To steal a famous quote from another Shakespeare classic, “The play’s the thing,” from Hamlet, could best be used to describe this present incarnation of “Othello”. Here, on a postage stamp playing area, there exists four actors relying on the script and language to mesmerize their audience, without the luxury of sets and costumes. The play is the thing and it is the talent of these actors, and devotion to their craft, that creates this intriguing and satisfying “Othello.”