Entity Theatre – Blogging Shakespeare & Theatre

This year’s Shakespeare journey takes us to Venice and Cyprus — conveniently all located at teh beautiful Theatron, Westpark, Munich.

THE PLAY

‘O, beware my lord of jealousy./It is the green-eyed monster which doth mock/The meat it feeds on.‘ —OTHELLO, act 3, scene 3

The first recorded performance of Othello dates to 1^st November 1604, shortly after James VI of Scotland had ascended the English throne and became James I.

Set in the city-state of Venice, the play takes place within the context of the city’s struggle during the 1570s with the Ottoman Empire for control of Cyprus, thereby evoking the Renaissance conflict between Christianity and Islam: the self and the other, the known and the unknown. To heighten the unknown as devious and dangerous, Shakespeare heavily drew on The Travels of John Mandeville (1350-70s), depicting various wonders such as headless men and other curiosities. However, Shakespeare’s main influence for Othello was a tale of a mixed-race marriage in Cinthio’s De Gli Hecatommithi, 1565. Shakespeare heightens jealousy as the driving force of conflict; as such, nearly all characters show signs of jealousy, most notably Othello and Iago, but also Bianca, Brabantio and Roderigo.

During Shakespeare’s time, the part of Othello was played by the company’s star actor, Richard Burbage, wearing black make-up and a wig made of black lamb’s wool. The first person of colour to portray Othello on stage was Ira Aldrige in 1826. Notable actors—black and white—followed such as Paul Robeson, Laurence Olivier, Patrick Stewart, Laurence Fishburne, Thomas Thieme and Chiwetel Ejiofor.

Entity Theatre’s production features Shreyas Bettadapura Raghavendra and Vaishak Raju (understudy) in the title role.

THE STORY

‘This is the night/That either makes me or fordoes me quite.’ — OTHELLO, act 5, scene 1

Venice.

When the Turkish fleet launches an attack on Cyprus, La Duchessa and the Senate decide to send the valiant general Othello to Cyprus’ defence. Othello, obedient to follow orders, immediately sets sail for Cyprus, on board his newlywed wife, Desdemona.

Meanwhile, Othello’s ancient, Iago, is furious about being overlooked for promotion and plots to take revenge against Othello. He manipulates Othello into believing that his wife Desdemona is unfaithful. Jealousy begins to consume Othello, turning his love for Desdemona into bitter hatred. The evidence? A strawberry-spotted handkerchief.

Directed by Conny Loder & John Yates, produced by Ken Lawler & Peter Heinz

Performance dates 7–9, 14–16 & 21–23 July 2023, 19:00

Join us this summer at the Theatron, Westpark. Admission is free, donations are welcome.

More information coming soon.

Due to the nature of outdoor theatre, we may have to cancel a performance. Please check here for a weather update by 16:00 on performance days: 0176 52441735

CAST

(in alphabetical order)

Alexandra Krienke (Understudy Iago)

Blair Gaulton (Soldier)

Cindy Bloes (Soldier, Understudy Desdemona)

David Hall (Brabantio)

Franziska Hass (Soldier)

Helen Schulz (Emilia)

Jennifer Mikulla (La Duchessa of Venice)

Kübra Kocak (Soldier)

Megan Nerlich (Understudy Emilia, Cassio)

Natalie Barnes (Lodovico)

Sara Brandt (Desdemona)

Shreyas Bettadapura Raghavendra (Othello)

Sophie Cretaine (Bianca)

Stefan Füssl (Iago)

Susan Kelly (Gratiano)

Tai Steyn (Cassio)

Tengiz Alpenidze (Roderigo)

Vaishak Raju (Montano, Understudy Othello)

CREW

Stage Management: Christine Fuss, Sarah Ryan

Costumes: Janet Giannone, Claire Middleton, Kübra Kocak, Estefanía Vidal, Lina Peller, Alexandra Krienke

Set Design: Ken Lawler, Anton Loder

Music Director: Helen Schulz

Front of House: Jeremy McCowatt

Dance Director: Sophie Cretaine

Fight Director: Sara Brandt

Photos: Tom Hafner

Marketing & Creative: Polyxeni Pelteki, Peter Heinz, Susanne Moog, Anna Rozman

Diction Coach: David Viita

Watch our trailer here:

Photo credit: Tom Hafner

It’s summer in Munich. And this means, it’s open air theatre season. While the team currently busily and sweatily rehearses, I simply can’t wait to present this hilarious comedy. True, opinions about this comedy are rather split. Some think the play is not one of Shakespeare’s strongest plays, since the characters are not as psychologically developed as they are in the darker, or later comedies. Others argue that the play is written much in the vein of the commedia dell’arte and hence purposefully presents types rather than characters. Whichever position one may hold, I personally think that The Comedy of Errors is one of Shakespeare’s most hilarious comedies. It’s packed with slapstick, mistaken identities (and all the comical consequences) and witchcraft. Obviously, it also requires a good shipwreck to start the show, and catchy tune to close it. As in the year’s before, we will have a chance for the audience to participate—it wouldn’t be a proper outdoor Shakespeare without some help from the audience. Yes, audience participation. Can’t wait to see this.

THE STORY

Am I in earth, in heaven, or in hell?
— Antipholus of Syracuse, The Comedy of Errors

The Greek towns of Ephesus and Syracuse are at war with each other. One day, Syracusian merchant Ægeon is stranded in Ephesus while searching for his lost son Antipholus. Unfortunately, Ægeon is found out to be from Syracuse and consequently detained by Duke Solinus. When he informs the Duke that he lost both his wife and his identical twin sons, twenty-three years ago in a shipwreck, Duke Solinus begins to pity Ægeon and promises that he will free him if Ægeon manages to raise a ransom of 1,000 marks by 5 o’clock that same day.

At the same time, Antipholus arrives in Ephesus from Syracuse, together with his servant, Dromio. Both quickly disguise their identities to avoid being arrested – and yet, on their exploration of the town, everyone in Ephesus seems to know them by their names. A lady called Adriana, takes Antipholus into her home, even calling him husband; Angelo, a goldsmith, gifts Antipholus with a chain of pure gold; the local Courtezan greets Antipholus as a regular costumer – and Dromio, well, all of a sudden, he finds himself married to a local beauty! Antipholus and Dromio are confused and suspect that some witchcraft has possessed the Ephesians. The confusion increases when a second Antipholus and a second Dromio enter the scene – and are swiftly arrested for alleged misconduct.

Meanwhile, the clock is ticking for Ægeon – will he find a friend in Ephesus to ransom him? Perhaps someone in the audience can help?