THE RENDITION MEETS MARTINS IMHANGBE
“Othello is a version of the Black experience, which is written by white man, so we have to assess that and bring it back. Now, it is for us to really investigate what is true what isn’t, what resonates with me as a Black man as opposed to being told.”
Towards the conclusion of the second week of rehearsals, Martins Imhangbe, who is set to portray Othello in this adaptation of one of Shakespeare's most profound tragedies, takes a moment to engage in a conversation with us at The Rendition. During our discussion, he delves into the journey thus far, shares his personal connection to the play, and provides insights into what audiences can anticipate.
Under the direction of Sinéad Rushe, this interpretation of Othello will incorporate three different Iago characters, accompanied by live music composed by Michael C. Fox, enhancing the audience's immersion in the narrative and offering a unique perspective from Othello himself.
“The idea of being able to see the human being all round is where I want to get to. Often, we are seen as stereotypes, and I want people to see a fully-fledged human being with all its flaws and all its glory.”
What do your rehearsals look like?
Martins Imhangbe: Rehearsals look like dismantling. Dismantling the play, reconstructing it... We’re trying to do something different with it, so it means we have to see it with fresh eyes. Really unpack what it means, what it meant then and what it means – today. We’re trying to bridge the gap between when it was written and how it’s relevant to today.
QUESTION: You’ve performed Othello before… how was that?
Martins Imhangbe: Yeah, I did a week in China.
It was good, but I was stepping into a production that’s already been formed. They’ve already done the production before, so I was stepping into that role and at the time I was on stage at the Young Vic doing Death of a Salesman, so it was quite an intense [time]. It took a lot out of me to give my all to that production.
QUESTION: Is it a totally different experience now?
Martins Imhangbe: Absolutely. We’re more interested in the psychology of it not so much the decorative aspect. It’s more about what’s driving these people, looking at war, looking at post trauma of war and how it affects relationships.
QUESTION: How does this compare to the other versions of Shakespeare you have done?
Martins Imhangbe: Richard II is very different to Othello. (They’re) both tragedies, but at the same time, it is hard to ignore the race aspect of it. It is hard to ignore (the fact) that Othello is a central character and (exists) as a black man in a (predominantly) white world.
(Personally) as a black man, it is hard not to feel a sense of curiosity (or desire) to unpack (and) shine some light to that aspect. For me, Othello is a love story. It is about a man who loves with his whole being and love can make you do outrageous things. Love can turn you fool, but at the same time the capacity to love is what makes the world a better place, being able to love and knowing how to love.
How can he love so much in a world that he’s not even seen as human? He’s treated as a war machine, but he still (chooses to) love. He loves Iago, he loves Desdemona, he loves Venice, and he has a strong sense of culture, (of) where he comes from…. I just love that.
QUESTION: Where would you say you are at in this stage of rehearsals?
Martins Imhangbe: I’m at a place where I’m asking questions around ‘why this play and why I want to do it’. The matter of fact is (that) it’s a traumatic play. I can imagine people coming to see it and flashes of trauma comes into play and I feel like the most profound bit for me is at the end where he gives an epilogue and he says to the audience “speak of me as I am; nothing extenuates, not set down aught in malice” …
This idea that we’re not a monolith.
We are human – we feel, we get jealous, we get angry, we love. This isn’t exclusive to a certain race (group).
QUESTION: What would you say excites you the most about this play?
Martins Imhangbe: One thing that excites me is working with the team I’m working with; I think they’re awesome. I have long relationships with the director, (and) one of the actors playing Lago I went to drama school with, we were in the same class. It’s nice 11 years later to be able to do a show with him.
It’s very exciting to do Shakespeare, as it’s not easy to do; being able to speak a whole new language and for a modern audience to be able to connect with it. Another thing that’s exciting is how people are going to take to 3 Lago’s. I’m curious to see how the audience will take to it, to see the mixed reviews.
QUESTION: What is the essence and value of this take (three Iago’s) on Othello?
Martins Imhangbe: Iago has the complicity of the audience, he’s able to talk to the audience and work out his plan… it’s almost like to audience are his confidante. He’s working on bringing down Othello, he puts Othello through trauma and the audience are in on that. So often, Othello is depicted as an idiot, easily manipulated – and at the end of the play everyone claps and Iago is celebrated.
With three Iago’s, they talk amongst themselves and plot. The audience are now able to observe this being, this fractured being at war with itself. In our version, Othello has the complicity with the audience, so they can almost empathise with him more deeply… go on this journey and almost see themselves within him.
We want to change that narrative of Othello being this easily led man at the mercy of Iago and the audience being in on that. We will see how the audience respond to being on Othello’s journey as opposed to Iago’s journey
QUESTION: Would you say this play is different to anything you’ve done both TV and theatre?
Martins Imhangbe: Psychologically yes.
Someone has planted a seed of doubt in your head about someone you love, and they are denying what you think is true… He says, ‘I think my wife be honest I think she’s not’ and he says to Iago “I think that thou art just and I think that thou art not. I’ll have some proof”. It’s very conflicting.
QUESTION: How do you ensure that the dynamics and potential challenges of the play do not spill over into your everyday life?
Martins Imhangbe: I think I’ve made peace as an actor that I’m in the line of devotion.
I’m devoting myself to hopefully sparking a change, or make people think and change their perspectives on how they view black men or how they view theatre as a whole. There is something about committing to that devotion and trusting that you are working from a truthful place, an honest place.
At the same time, (I’m) leaning into my loved ones and into my family.
QUESTION: What do you want the audience to take away?
Martins Imhanngbe: I want them to see fully rounded human beings on stage, which we all are.
I want them to see humans as opposed to stereotypes and I want to challenge their perceptions.
QUESTION: Last question, describe the play in 3 words.
Martins Imhangbe: Intense. Dynamic. Heartful.
Othello is running at Riverside Studios between 04 - 29 October 2024.
