Review: Othello: The remix in stages

that of Shakespeare Othello is a tragedy in five acts which is no stranger to a 180-minute performance. Luckily, Stages Theater takes us away from this slog fest and treats its Houston audience to an 80-minute treat. Instead of Elizabethan English, vernacular and verse combine to create an infectious sound world filled with hip hop beats and catchy rhymes.

In Othello: The Remix, performing in all its bombastic glory, the Q Brothers imagine Othello (Camryn Nunley) as a rapper and Desdemona as the enchanting singer who sings the choruses of his songs. They make their best music together and are madly in love with each other.

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Othello (Camryn Nunley) makes music and raps with Desdemona.

Photo by Melissa Taylor Photography.

Cassio (Kory Laquess Pullam) and Iago (Gabriel Mullen) are members of his crew. Jealous that Cassio is being pressured into recording a new album in his place, Iago plans to ruin Othello’s life, because Othello should have given Iago the opportunity. Iago manipulates Roderigo (Issac Lopez) to help break up Othello and Desdemona. Although Iago succeeds in creating a rift between Othello and Desdemona, devastation erupts as a result.

All the tragic elements that make Othello a tragedy exist in this play. The jealousy, envy, manipulation, and deception are on full display, but the Q Brothers smartly reduce the cast to just its most important characters. When needed, Iago’s wife Emilia (Pullam) and Cassio’s groupie Bianca (Lopez) are cast in frivolous drag costumes for comedic effect.

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Cassio (Kory Laques Pullam) raps.

Photo by Melissa Taylor Photography.

Eboni Bell Darcy’s invigorating direction and energetic performances highlight how exhilarating Shakespeare can be. This quick and easily understandable production runs smoothly. When the team performs, it feels like a concert. A mesmerizing spectacle of vibrant colors and pulsating patterns guides audiences through concerts, personal conversations and private introspection while lighting (Janessa A. Harris) helps build tension while punctuating key moments with bursts of brightness to keep the show exciting.

This is a relentlessly energetic show, and while the actors’ endurance is sometimes tested, they never drown in their own sweat. They rap with precision and deliver the punchlines to strong response from the audience. Pullam stuns as the immature protégé. His silly dance moves and youthful delivery bring to life a character that would be vulnerable to slight manipulation.

Nunley and Mullen deliver raps that require a bit more verbal dexterity due to more clever wordplay and rhymes. They felt good while keeping pace and never got bogged down in verbiage.

Lopez fascinates. There is an infectious quality every time an actor walks on stage and visibly enjoys their role. Lopez brings personality to every role he plays. Even when he humorously takes a brief moment to drink water during a transition, the moment comes to life through the audience’s laughter. He happily sees the entertainment value in every moment he’s on stage and takes it. His spontaneity and playful side add to the humor of the show.

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Cassio (Kory Laquess Pullam) has Bianca (Issac Lopez) hanging on and doesn’t take her seriously.

Photo by Melissa Taylor Photography.

The Q Brothers’ writing is well crafted and the lyrics move the story forward and entertain. The rhymes are peppered with references to legendary rap artists, Dungeons and Dragons, and tennis references that include a clever nod to Martina Navratilova. There is something for everyone in this show, but the distinctive use of hip hop and humor gives this story a more youthful interpretation. Young people in mind are over 18 years old and older than teenagers.

If there is any discomfort that comes from this production, it is the crude references to sex and the repetitive physical gestures of the act. After a while this veers into gratuitous territory and becomes particularly strange when the women they are referring to appear on stage either through men in drag, or in Desdemona’s case, a disembodied singing voice.

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Iago (Gabriel Mullen) enjoying the confusion he has created through his manipulation and scheming.

Photo by Melissa Taylor Photography.

The lack of female actors becomes more visible towards the end when there is a feminist song, “Man’s World”, which calls out men for their double standards towards women. Although funny and entertaining to watch, the song lacks critical bite as it undermines itself when performed by men in light drag. For the most part, Emilia and Bianca are depicted as one-dimensional characters who exist only as comic relief “in this man’s world” or, at least, in this production of the play.

Stumbling solely in how it portrays its female characters, the roaring production of this hip hop musical piece is an evening of high-octane performances and hilarious storytelling. Head nods or foot stomps are inevitable as the music invades and captivates even the most vocal hip hop detractors. This bold reinvention triumphs as it embraces the electrifying vitality of hip hop with the limitless creative potential to breathe new life into Shakespeare’s 400-year-old stories.

Performances continue until June 9 at 7:30 p.m. on Wednesdays and Thursdays; 8 p.m. Friday; 2:30 p.m. and 8 p.m. Saturday; and 2:30 p.m. Sunday at Gordy, 800 Rosine. For more information, call 713-537-0123 or visit stageshouston.com. $48 to $84.