I keep meaning to finish a half-drafted essay about movies in 2017, specifically the recent trend of making dark comedies out of stories (Three Billboards; I, Tonya) that aren’t remotely funny. Trinity takes a similar approach with its boisterous Othello, forcing humor into the play’s mostly loathsome characters (and flipping the play’s inherent misogyny into a cautionary tale about bro mentality). Jude Sandy, usually seen in meek roles, gives the Moorish general a certain puppydog quality that doesn’t seem to befit his standing, though Sandy’s commanding, Caribbean accented English gives his lines an unexpected heft. (Providence Journal reviewer Channing Gray is perpetually wrong about everything, but he’s particularly off base calling Sandy “indecipherable” here.) The play’s not without its faults: the minimal set is half-baked and the musical interjections are all really dumb. But Trinity regular Stephen Thorne transforms into a surprisingly unrecognizable Iago, fake-looking tattoos and all.
photo: Mark Turek