Setting and background
A seaport in Cyprus at the end of the 15th century. The historic struggle between Christian and Muslim navies for control of the eastern Mediterranean is now between the Republic of Venice and the Ottoman Turks, its principal objective the island of Cyprus, currently occupied by Venice. The commander of the Venetian fleet is Otello, who is also the Governor of Cyprus. Unusually, Otello is a Moor, a Muslim who has converted to Christianity, married a Venetian noblewoman and risen to the highest rank in the Venetian armed forces.
ACT ONE
Otello, having defeated the Turkish fleet, must conquer a ferocious storm before reaching port. The Cypriot people and the Venetian garrison join in hailing this double victory, and glorify Otello. The people and the sailors light a bonfire in celebration while Otello withdraws to be reunited with his wife, Desdemona.
Present is Iago, Otello’s ensign. He is at heart a bitter racist and wills Otello’s downfall. Despite his apparent devotion to his master, Iago hates Otello because he has promoted Cassio to captain instead of him. Roderigo, a Venetian nobleman, is in love with Desdemona; Iago offers to help him to woo her away from her husband. When the wine begins to flow, he next shames the young Cassio into drinking too much. Cassio is very close to Otello, having acted as his go-between in the courtship of Desdemona. In his drunken state, Cassio assaults Roderigo and a brawl ensues in which he wounds Montano, a fellow officer. Otello appears and restores order, but demotes and dismisses Cassio.
The people depart, leaving Otello alone with Desdemona. They explore the nature and quality of their profound love for one another. It is clear that for Otello, this amounts to a form of worship.
INTERMISSION
ACT TWO
Iago convinces the dejected Cassio that the way back to Otello’s favor is through Desdemona, who is shortly expected in the garden. Alone, Iago expounds his belief in the supremacy of evil and in his destiny to perpetrate it. Death comes as the end; there is nothing beyond it.
Cassio engages Desdemona in conversation just as Otello arrives. Iago pretends to be suspicious of their encounter but then dismiss such thoughts. Desdemona is greeted by an adoring group of islanders and their children bringing flowers and gifts. They obviously revere and love her. By warning Otello against jealousy, Iago succeeds in planting the germ of doubt in Otello’s mind, so that when Desdemona pleads Cassio’s case he is uncommonly harsh with her and shows signs of stress. She tried to comfort him with the handkerchief he had given her as a token of his love. He snatches it impatiently and throws it down. When Emilia, her companion, retrieves it, Iago demands it from her. Although Emilia is Iago’s wife, she mistrusts his motive and refuses, but in the end he forces it from her.
After the women have departed, Iago starts on Otello in earnest. He pretends to have heard Cassio having an erotic dream about Desdemona and also to have seen her handkerchief in Cassio’s possession—only minutes after Otello has handled it himself. Such is the vulnerability of Otello to the idea of female dishonor.
Iago has snared Otello. They join in an oath of vengeance which invokes the whole of creation, the very same cosmic reach which Otello had earlier ascribed to his love for Desdemona.
INTERMISSION
ACT THREE
A herald announces the arrival of a ship bringing an ambassador from Venice. Iago must work quickly to achieve his evil purpose. Otello demands proof positive of Desdemona’s infidelity, which Iago promises he shall have from Cassio himself. Desdemona appears and once more makes a plea for Cassio’s forgiveness. Otello again shows signs of stress and asks her to soothe his brow — with the handkerchief he gave her, the one stolen earlier by Iago. He describes its rare, magic power and warns her against ever losing it, before dismissing her crudely.
Alone, Otello complains to God that he could have borne any other disgrace but this, to lose the haven of his soul’s repose. If she is truly guilty, death is the only punishment. But he must have the final proof.
Iago brings Cassio and they converse frivolously about his mistress Bianca. Otello watches, just out of earshot; he observes their humorous banter and assumes they are laughing about Desdemona. Cassio describes finding a mysterious handkerchief in his quarters and shows it to Iago, who makes sure that Otello sees it also. This is all the proof he needs.
Meanwhile Lodovico, the ambassador, and his party have disembarked and are about to arrive. Otello and Iago agree to kill both Desdemona and Cassio that very night. Lodovico brings an order from the Doge recalling Otello to Venice. His successor as governor of Cyprus is to be Cassio. Enraged and humiliated, Otello assaults Desdemona in front of the entire assembly, while Iago continues his relentless plotting. The meeting breaks up in disorder and Otello falls down in a fit of apoplexy. Outside, the people continue to acclaim their hero; inside, it is Iago who is triumphant.
Brief Pause for Scene Change
ACT FOUR
It is night. Desdemona awaits Otello as Emilia prepares her for bed. She recalls a song sung by her mother’s maid about a young girl who loved too well.
Otello enters, finding Desdemona asleep. He kisses her and she wakes up. He tells her he is going to kill her and why. Her protestations of innocence fall on deaf ears. Emilia returns with the news that Cassio has killed Roderigo. She finds the expiring Desdemona and raises the alarm. She, Cassio and Montano expose the villainy of Iago, who flees with guards in pursuit. Otello stabs himself and dies, kissing Desdemona for the last time.
Synopsis by John Cox
In fond memory of Tara Colburn, supertitles are underwritten by Dunard Fund USA.
