Gang rape, sexy virgins, spousal abuse, a racist parody of the love between Othello and Desdemona, a Babel of voices and cultures suggesting the dangers of miscegenation: John Neumeier’s ballet “Othello” is undeniably confrontational and contemporary. But does modernizing a classic really have to mean making it violent and sordid?
Neumeier’s Hamburg Ballet gives the two-act “Othello,” which can also be vigorous and innovative, its final performance at the Harris on Wednesday. His “Third Symphony of Gustav Mahler” (1975) takes the Harris stage Friday and Saturday. Created in 1985, “Othello” features Neumeier’s evocative, versatile stage design, anchored by a two-story structure veiled in gauzy curtains. His streamlined costumes are subtly modern while still recalling the Renaissance; in keeping with this staging, they do bare some buttocks.
The score is a pastiche Neumeier cobbled together to suit his scenes and ideas. A few European selections from the 15th through the 17th centuries drive what look like Renaissance court dances, performed by patrician dancers all in white. Meanwhile, recordings by Brazilian percussionist and berimbau player Nana Vasconcelos underscore the earthiness of Othello’s coarse soldiers, enhancing the contrasts of class and race in Neumeier’s staging.
Most of the music, though, is contemporary classical, recorded in the 1970s — and arguably as challenging now as it must have been then. A letter that Neumeier sent to frequent collaborator Alfred Schnittke, reprinted in the program, makes it clear that “Othello” was inspired by Schnittke’s disturbing, powerful Concerto Grosso No. 1, heard in full in the second act. Arvo Part’s “Mirror in Mirror” provides the backdrop for the lovers’ virginal duet in Act 1, while his “Tabula Rasa” (also played in its entirety in Act 2) achingly frames the dissolution of their love.
These two adagio duets, set bleakly apart from the rest of this universe, are the best reasons to see “Othello.” As Desdemona, Helene Bouchet is touching, and technically adept in actual ballet steps. Othello’s choreography throughout is highly innovative, going far beyond the usual sturdy partnering of the woman; it’s the evening’s most challenging role and Amilcar Moret Gonzalez does yeoman’s work.
But in general the music is better at setting a mood than providing a strong engine for dance. Perhaps as a result, most of the story gets told through body language and acting. Iago in particular (well performed by the commanding, sly Ivan Urban) is a cartoon villain, delivering a steady stream of evil laughter and all but twirling his mustache. His lengthy beatings of Emilia, cowed as a dog, are almost too painful to watch. In Neumeier’s vision, Iago is simply the most inexplicably corrupt citizen of an inexplicably corrupt world.
Unfortunately, Neumeier’s biggest innovation is the idea that the tragedy of Othello and Desdemona grows out of their solipsism; they have no agency. He actualizes their false images of each other in the animalistic character of the Wild Warrior, how Desdemona sees her lover, and in a tempting virgin in diaphanous gown, a la Sandro Botticelli’s “Primavera,” how Othello sees his.
These lovers aren’t tragic; they’re depressing. Their foolish, lurid sexual fantasies make them as base as the rest of Neumeier’s world. Long before the too-long second act ends, we’re over them.
Laura Molzahn is a freelance critic.
“Othello” – 2.5 stars
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When: Through 7:30 p.m. Wednesday; “Third Symphony of Gustav Mahler” is 7:30 p.m. Friday-Saturday
Where: Harris Theater, 205 E. Randolph St.
Running time: 2 hours, 35 minutes
Tickets: $35-$125 at 312-334-7777 or harristheaterchicago.org