|by William Shakespeare
directed by Dylan Key
|Previews: February 21 @ 7pm
Show dates: February 23 & 24, March 1, 2 & 3 @ 7:30pm, February 24 @ 2pm
Theodore and Adele Shank Theatre
|About the Play
Othello, a Moorish general of the Venetian army, has just married the lovely Desdemona, but the conniving and envious soldier, Iago, is bitter at Othello for having been passed over for advancement. What follows is one of Shakespeare’s most famous stories of deceit, revenge, and the tragic events that occur when the truth is manipulated for selfish means.
|About the Playwright
William Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.He is often called England's national poet, and the "Bard of Avon". His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Learn more at Wikipedia.org
|About the Director
Dylan Key is a second-year MFA Directing student. His work has been seen at Undermain Theatre, Dallas Actor’s Lab, Kitchen Dog Theater, the Dallas Museum of Art, and site-specific work throughout Dallas. He spent five years as the Artistic Associate for Undermain Theatre and co-founded Shakespeare in the Bar and TRIBE, for which he was named a 2016 Dallas Mastermind. He has trained with Anne Bogart and the SITI Company, Marc Bamuthi Joseph and the Living Word Project, and is an alumni of the Lincoln Center Theater Directors Lab.
Each rehearsal process and production is an experiment. It is an investigation into a specific text, with a specific group of collaborators, in a specific time in place. Each night in the rehearsal laboratory certain hypotheses arise, certain results are found, certain counter-arguments are made, and the process begins again. For me, directing means curating the process of experimentation, setting up the laboratory where people and ideas and a text can collide, intermingle, and react.
When producing a classic text, such as Othello, the text itself has been both the thing being investigating and a tool for investigation. Othello is a slippery play, one that is deeply rooted in a specific time and place of its origin, an expression of a particular man’s point of view in a particular time, while also brimming with questions and images which feel potently alive in the world today. Our conversations and creations around and with the piece began to evolve around the ways in which each of us, in wildly different ways, are at once both victims of and complicit in systems of oppression that seek to annihilate our very personhood and actively seek to distance ourselves from our own self-knowledge. We explored what aspects of ourselves are alive and ignored within the world, art-making, and this project itself. And what aspects of these characters are alive and ignored within the world of this play. And then began to hopefully come to articulate for each of us, the ways that perhaps we can find hope, joy, love, and self-expression within these systems. Here are the results of our experiments over the past six weeks.
Othello – Deleon Dallas
Iago – Kyle Hester
Desdemona – Claire Roberson
Cassio – Allyn Anthony Moriyon
Brabantio – Brandon O'Sullivan
Roderigo – Max Singer
Emilia – Nicole Javier
Bianca – Danielle E. B. Wineman
Gratiano / Duke of Venice – Enrico Nassi
Lodovico – David Price
Montano – Garrett Schulte
|The Creative Team
Director – Dylan Key
Scenic Designer – Matthew Herman
Costume Designer – Junior Bergman
Lighting Designer – Minjoo Kim
Sound Designer – Zhongran Carren Wang
Assistant Director – Nicholas Rapp
Assistant Director – Masato Watanabe
Assistant Costume Designer – Dorottya Vincze
Assistant Sound Designer – Stephen Jensen
Production Stage Manager – Willie Mae Michiels
Assistant Stage Manager – Nicholas Lambros Smith
|Performances||Parking & Location
Located at: Theodore and Adele Shank Theatre
Parking Passes Required: Monday through Friday. Weeknight passes are $2 per vehicle from the vending machines located in the UC San Diego Theatre District/La Jolla Playhouse parking lots and entry display case. Please remember your parking space number. You will need it to purchase your parking pass.
Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.
Parking Passes Not Required: Saturdays and Sundays
Cars without permits are subject to ticketing by UCSD Campus Police. The Theatre & Dance Department does not have the authority to waive and cannot pay parking tickets.
|7:00 pm PREVIEW
7:30 pm OPENING
7:30 pm CLOSING
Advance tickets for this production are available Tuesday-Friday, noon to 6 pm by calling the Box Office at 858.534.4574 or in person at the Theatre District’s Central Box Office at the Sheila & Hughes Potiker Theatre.
At-the-Door tickets, if available, can be purchased one hour before show time at the performing theatre’s box office at Mandell Weiss Theatre.
General Admission: $20
UCSD Faculty/Staff/Alumni Association, and Seniors (over 62): $15
UCSD Students/UCSD Alumni Association (with ID): $10
Please note: No late seating; no refunds.
Theatre & Dance Faculty, Staff & Majors Only >>
UC San Diego 9500 Gilman Dr. MC0344, La Jolla, CA 92093
Tel: (858) 534-3791 Fax: (858) 534-1080