Othello-Play Synopsis Presentation
Intro to Theater
Evan Mowry, Anthony Brown, Shannon Munstenteiger, Hayden

There are many different themes that could be discussed in Othello. However, there are two main consistencies that run throughout the play, and are integral to its longevity as a literary work. One of the themes is “romantic love vs. lust” and the other “black vs. white”.
In the play, Othello is romantically in love with Desdemona. In A1S2 he even states that he is in love with her. Iago, however, is lustful of her. The main catalyst for conflict is Iago’s dysfunctional point of view regarding his feelings for Desdemona.
The other prevalent theme in this play, black vs. white, can be interpreted as a struggle between good and evil, and manifests itself in racist symbolism. A moor (black person), it is stated throughout the play, is a horrible, alien thing that is somehow not good for a presumably white girl. In A1S1 Iago galvanizes Brabrantio into action by remarking that, as they speak, “an old black ram is tupping your white ewe!”

The diction of Othello is very Shakespearean, and is dissimilar to the style of speech in contemporary times.
Shakespeare wrote his plays in iambic pentameter, which is a form in which each line is composed of 10 syllables, with the emphasis falling on the second, fourth, sixth, eighth, and tenth syllables.
The word use in Othello is very different from what one would hear nowadays. Not only is the order of the words in some lines messed up to allow a better flow, but words were sometimes shortened drastically, omitting a syllable.
With regards to the individual characters in Othello, all speak with roughly the same diction. Of course, directors and performers may take their own direction regarding the specifics of attitude, volume, timing, etc, it is meant to have a roughly uniform type of speech.

The play begins with the revelation that Iago has been passed over for a promotion in favor of Othello. He decides to cause mischief, and so decides to tell Desdemona’s father, Brabrantio, that she is sleeping with Othello. Iago hopes that by causing enough conflict, Othello and Desdemona will not be able to be together, and he’ll have revenge.
Othello is redeemed in the eyes of the senate for his affair with Desdemona when we learn that the Turks are attacking Cyprus, and his help is needed in driving them back.
When all the characters thus far get to Cyprus, the Turks’ ships have been destroyed in a storm. Iago, with the help of his friend, Roderigo, decides that to truly tear apart Othello and Desdemona he’ll have to call their love of each other into question. He hatches a plan to frame Cassio and Desdemona as having an affair.
After a night of drinking, Iago convinces Roderigo (easy to do, considering Roderigo’s obsession with Desdemona) to attack Cassio. Cassio fights back and kills Montano in the ensuing duel. Othello arrives, and is forced to visit judgement upon his most trusted local guardsman, stripping Cassio of rank.
Cassio enlists Iago to help him and Desdemona restore his good name and title. Iago intimates to Othello that he believes Desdemona is helping Cassio because of an affair. He plants a handkerchief, given to Desdemona by Othello, in the house of a prostitute, who is a lady friend of Cassio, in order to incriminate him.
Othello observes a meeting between Cassio and Iago, in which he does not realize that they are speaking of the prostitute, but instead thinks they are discussing Desdemona. He becomes enraged when Cassio admits to sleeping with her after Iago queries him about the handkerchief.
Othello is recalled to Venice, and becomes violent with Desdemona after hearing that Cassio has been chosen to assume command in Cyprus.
Iago convinces Roderigo to attack Cassio in order to prevent Othello and Desdemona from leaving. Roderigo attacks Cassio, and they are both wounded. Othello, overhearing, thinks that Cassio is dead and heads for home. After Lodovico stumbles upon the scene, Iago returns and kills Roderigo to cover up his crime.
Othello, after flying into a jealous, confused rage, smothers Desdemona. Emilia, the wife of Iago, enters with the news that it is Roderigo, not Cassio, that is dead, only to speak with Desdemona and have her die in her arms.
Iago and Montano enter, and, through a slip of Emilia’s tongue, learns the truth about the handkerchief. Iago, enraged that his machinations are bared, kills Emilia and flees.
Iago is captured, and Othello commits suicide after realizing he killed his own, innocent wife. Iago is handed over to Cassio for sentencing.

The major characters of Othello are Othello, Cassio, Iago, Desdemona, and, to a lesser extent, Emilia, Roderigo, and Bianca.
Othello is a foreign warrior living in Venice. He is a war hero, and is considered their greatest general. Othello is very honorable, but also extremely passionate.
Cassio is a lieutenant of the Cyprus Guard. He is very loyal, and loves his general very much, and is more confused than anything when he is suddenly cast out of his lord’s favor.
Iago is the villain of the play. He is scheming and diabolical, and not an ethical person.
Desdemona is a daughter of the Venetian upper-class. She causes a stir when she marries Othello, and is, like Cassio, loyal to the point of idiocy.
Emilia and Bianca are not so much characters as they are plot elements. Bianca is necessary for the handkerchief device to work, and Emilia is required to reveal all at the end of the play, and also to establish Iago as not only manipulative but evil.

The minor characters in Othello are Brabrantio, the Duke of Venice, Montano, Lodovico, and Gratiano.
Brabrantio is the father of Desdemona, and behaves like one would expect an upper-crust merchant to. He is quite selfish, and quick to act, but has only his daughter’s interests in his (distorted) mind.
The Duke of Venice is the ruler of Venice, and is very level-headed and intelligent. He has great confidence in Othello, and in his romance with Desdemona.
Montano is the governor of Cyprus, and is like a more active version of the Duke of Venice. He is a great admirer of Othello.
Lodovico is a Venetian nobleman, and an active peacemaker. He alone both witnesses the change in Othello’s behavior towards Desdemona and comments on it.
Gratiano is a poorly developed character, and generally just hangs around.

Our take on Othello takes place in pre-World War I era Italy. The set and costumes reflect the just-being-industrialized contrast between the average person and the military.
The men in the play all wear either loose, peasant-like clothes, in earthy tones and white, that were common in Europe at that time, or day suits. The suits are either grey or a dull blue, or brown. At night they are attired either in black suits or tuxedos.
Any of the city guard, and also Othello and Iago, wear a dark grey military uniform. Not all that fancy, their uniforms are functional and…well, uniform. Caps are worn, and are similar to peaked naval caps, and match the uniforms’ color. All the younger, fit men carry swords, and the richer of them have pistols. Roderigo is not rich, but has acquired a crummy pistol.
The women are wearing period summer dresses, and carry parasols. Both sexes wear period underwear/bedclothes; that is to say, there is a lot of fabric, and almost more fluffy lace, with the women donning bonnets at night.
The scenery contains a lot of standard, Venetian imagery. Cobblestones and white-washed buildings, some made with wattle and daub, are the standard, with the occasional exception of a fountain or marble statue. Much of the play takes place outside, and the set should be designed so that much of the play can be acted out without a scenery change.
Scenes that take place in Othello’s bedroom and the Duke’s court in Venice should be dominated by marble, and accentuated by columns, with Victorian furniture.

There are the occasional gun shot and sword clash in our play, as well as singing. Gun shots can easily be done with blanks, and sword clashes with actual swords. The singing is all when the singer is drunk, and not alone. They are accompanied by a sailor’s accordion, and are not to any specific tune (a tune is played on the accordion, but not followed by the intoxicated singer).
Ambience is a concern for this play, as it takes place when records and record players were first coming into affordability. During appropriate scenes (ie, indoor), opera or classical music should be played, onstage, as a backdrop for the dialogue. Also, the scene when Othello and company arrive in Cyprus should be accompanied by synthetic sounds such as bells clanging, hammers, sailors, yelling about fish, perhaps even steam blasts, etc, as it takes place on the dock.