British Black and Asian Shakespeare Performance Database
Othello (2007): Shakespeare's Globe Theatre, The Globe Theatre, Bankside
This production ran from 24 May - 19 August 2007, according to Theatre Record.
[review begins with Iago and spends the first five paragraphs discussing Iago; first mention of Eamonn Walker is in paragraph six] "This Iago is dangerous in more ways than one. To cast Tim McInnerny as the chilling machinator in Othello is to take a risk. He has, after all, been unforgettably hilarious in Blackadder, and putting him back in a Renaissance doublet could raise sniggers....Milam makes Venice and Cyprus multicultural societies, with historical backing in the programme, Arab-influenced costumes and - as an extra twist - a black Aemelia [sic] and Bianca. Meanwhile, Eamonn Walker's Othello has great dignity, bruised pride and an explosive temper which - before Iago starts twisting the knife - is sorely tried by both Brabantio and his army unit's brawling. Vocally, Walker needs to up the volume, but as he collapses he becomes vulnerable, like a small boy. Then, in the harrowing murder scene, he lifts and strangles Zoe Tapper's tiny Desdemona with a hair-raising powerful ease that almost makes him look as if he's lovingly playing with a child." ~ Kate Bassett, "This killer has dignity...", The Independent, 27 May 2007
"This is a hands-free Othello. Its director, Wilson Milam, creates the illusion of scarely directing at all. Everyone is in Elizabethan costume. There are flaming torches. Minstrels in the gallery. No special effects. The production will please Shakespearean traditionalists - but that does not mean it should be written off by anyone else. It is an evening of integrity, illuminated by its four excellent central performances. Eamonn Walker's Othello is strong as a retaining wall but his eyes are wild, you can see their whites flashing. He is dignified but vulnerable. He has the reflexes of a hunter. He can break up a rabble with a single roar and a long sword. And yet, by the end, he also seems such a tragic fool, with his heaving breast and simple, strawberry-counting calculations....Meanwhile, Iago's own wife, Emilia (Lorraine Burroughs), is sensational. Her hysteria in the final scene seems to harvest all the stored pain of the play." ~ Kate Kellaway, "A Desdemona to die for", The Observer, 27 May 2007
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