Othello

Tradition demands that amateur theatre groups at some point in their careers, produce a play by Shakespear. Actually, no other plays are quite so unsuited to non-professional treatment, because the Bard's familiar plots cannot divert audience attention from the actors' shortcomings. Each viewer is sure that he can--or has--played the role to something near amateur perfection. And heaven help the wretch who falls below this often exaggerated standard.

Also, the audience can compare the present players to the "giants" of the past. Most audiences have seen fine professional performances, and, once exposed to the best, they expect little else.

But the Harvard Dramatic Club left the well-trodden field of Othello with creditable success, marred only by the lead's unfortunate ineptness. Richard Heffron, in the title role, was more of a weight than a buoy to the show. Playing his early scenes in a sullen monotone, he gave no hint of a character that could erupt into uxoricide. Then, in his big scenes, he abandoned himself to steady roaring, without climaxes or the delicate shading that devides the complete amateur from the budding professional. As a result, Othello was without depth, a man of stock motions, trite passions and an unbelievable temper.

Those who attend dress rehearsals claim that Heffron was overly nervous opening night, and is really capable of a fine performance. In hope so. But Tom Gaydos, defeating opening night jitters, stole the show as the wily Iago. His performance, although at times uneven, generally flowed from peak to peak, setting a brisk pace for the other actors. This was particularly noticable in his scenes with Roderigo, played, with scant talent, by John Bethel. Gaydos seldom allowed himself the luxury of shouting, and even tried to tone down some of Heffron's more volatile scenes. His Iago was, perhaps, too good a fellow, but it is better to have that interpretation than a high-decibel reading without any shading.

And Gaydos might have been even better had Ian Cadenhead provided a more forceful Cassio. But, having stepped into the role just last Monday, Cadenhead did well enough, and as director he did a fine job. The pace was right, and the group scene--usually a menace to non-professionals--came off without collision or awkwardness.

Most of the supporting actors were no better than usual. But Lillian Aylyard, as Emillia, and Ellic Fuchs, playing Biahca, were refreshing exceptions. Miss Fuchs, although she had only a bit part, was particularly good.

But the finest actress was Betsy Hubbard, as Desdemona. In a meaty role, she was never confused or flustered and the scene in which she sang the "Willow Song" was the most touching of the evening.

In all, the HDC production is quite worthwhile, and as the cast gains experience in performance, it should improve. But I feel that student theatre groups do wrong to both themselves and the community by featuring either Shakespear or other much-produced authors. They would better try new sources and experimental plays, challenging their own talent and luring new material.