{"id":141,"date":"2026-05-21T11:37:13","date_gmt":"2026-05-21T11:37:13","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=141"},"modified":"2026-05-21T11:37:13","modified_gmt":"2026-05-21T11:37:13","slug":"the-fear-driving-well-ill-let-you-go-and-othello","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=141","title":{"rendered":"The Fear Driving \u201cWell, I\u2019ll Let You Go\u201d and \u201cOthello\u201d"},"content":{"rendered":"
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There are a lot of small, sincere plays that are also very boring. I won\u2019t name names, because I\u2019m not a complete monster, but, as anyone who frequents the theatre understands, a seventy-five-minute drama with no intermission can last several centuries. So I\u2019ll admit I was nervous when I saw a poster at the Studio Seaview, where \u201cWell, I\u2019ll Let You Go\u201d is now playing, that described the show as \u201ca fog of grief,\u201d which sounded suspiciously like code for \u201cdignified but dull.\u201d Luckily, that apprehension quickly dissolved as I submerged myself in the patient, meditative focus that is one of the rewards of quiet plays\u2014the sensation of an audience locking in, then submitting, happily, to the story.<\/p>\n

Read more Clarence Thomas Against Progressivism\u2014and Progressives<\/a><\/p>\n

\u201cWell, I\u2019ll Let You Go,\u201d written by the actor Bubba Weiler, had a run in Brooklyn last year. It opens on a bare stage decorated with what the script calls \u201crehearsal versions\u201d of furniture, \u201cnot quite right or fully realized.\u201d There are folding chairs and a card table, a reflection of the blanked-out inner life of the show\u2019s protagonist, Maggie (Quincy Tyler Bernstine), a retired schoolteacher who is at sea, unmoored by a personal loss of some kind\u2014and reliant on the people around her to fill in the gaps. Conveniently, there\u2019s another presence lingering onstage: an \u201cOur Town\u201d-ish narrator, played with gentle, appealing authority by Matthew Maher. He tells stories about the characters\u2019 past and the origins of their relationships; he lets us know what people think but don\u2019t say. He also urges us to see Maggie\u2019s space through more generous eyes, by describing a piano that we can\u2019t see, or referring to the card table as a glass-topped showpiece that glints with sunlight at \u201ca weird hour of the day when no one is in the room to see it.\u201d<\/p>\n

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Then, one by one, guests show up. Maggie\u2014dishevelled, her posture slumped\u2014feels obliged, despite her shock, to be a gracious host, a role that she is both adroit at and phenomenally ill-suited for. She\u2019s a polite person but introverted and skeptical, a doubter in a town full of churchy, community-oriented do-gooders. And, slowly, we realize that what we\u2019re watching isn\u2019t a slice of life but a true-crime story, with Maggie as detective: her husband, Marv, has been killed in a shooting at a community college. Her neighbors see him as a hero, but Maggie doesn\u2019t seem as certain\u2014and the more we eavesdrop, the more unsettling the details appear.<\/p>\n

Each visitor holds a clue. There\u2019s a sad-sack, conspiracy-minded cousin, whose life Marv and Maggie kept afloat; a bossy funeral director; Marv\u2019s brother (a swaggering Danny McCarthy); his vivacious wife (Amelia Workman), who is also Maggie\u2019s best friend; a former student of Maggie\u2019s who arrives unexpectedly, twitching with nervous apologies (a deeply moving Emily Davis); and, later on, her daughter (Cricket Brown). Each person gets a single scene but feels utterly real, with Will Dagger a standout as the cousin, leaking needy bravado, and Constance Shulman very funny as the funeral director, determined to stage a party for a host who refuses to throw one.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Like the recent Broadway play \u201cLittle Bear Ridge Road,\u201d \u201cWell, I\u2019ll Let You Go\u201d is a portrait of people living in isolation, their walls up\u2014a situation ripe for an explosion. Refreshingly, the play doesn\u2019t cheat its way toward its climax, and instead arrives at something simpler and more affecting: the audience learns what happened to Marv, but the revelation is more about the nature of a long marriage, the question of how well a person knows her own partner\u2014and what it would mean if she were wrong. In Weiler\u2019s plainspoken script, that payoff comes with a light touch, during an exchange with the former student, who sees Maggie as she can\u2019t see herself, and who tells her, \u201cAll of the other teachers were old and mean. But you were, like, hopeful?\u201d<\/p>\n

In the play\u2019s final moments, unreal things become real: the phantom piano gets played; the sunlight sparkles. There\u2019s a beautiful scene that reminded me of the powerful conclusion of last year\u2019s production of \u201cOedipus,\u201d which leaped back to a more innocent time. The ending of Weiler\u2019s play allows us to see the empty setting of Maggie\u2019s house in an entirely new way: as a not yet furnished home, at the start of a new marriage\u2014something that might be a mistake, or the opposite. Here is a place that has potential and, perhaps, nothing much else going for it. Isn\u2019t that true of theatre, too?<\/p>\n

Read more The Missing Bride of Anqoun<\/a><\/p>\n

There\u2019s something perversely logical about a director of \u201cOthello\u201d doubling as the play\u2019s Iago, a manipulator who plants motivations and props, tucking telltale handkerchiefs into bedrooms, imprinting his designs on the world. Iago is Shakespeare\u2019s most disturbing villain, perhaps because he\u2019s his most modern one: he\u2019s a nihilistic troll, a precursor of every 8Chan trickster on the Dark Triad. In a new production by Bedlam, at the tiny West End Theatre, the company\u2019s artistic director, Eric Tucker, pulls off this ambidextrous feat, delivering an unnervingly easygoing performance as Iago, playing him less as an obvious creep than as a glad-handing, physically confident broheim\u2014he\u2019s as disarming as Ted Lasso, if you pay no attention to the noose dangling from his hand.<\/p>\n

In Tucker\u2019s staging, Iago is also the character who remains most fully himself, instead of splitting like mercury. Founded in 2012, Bedlam is a theatrical nonprofit dedicated to \u201cthe immediacy of the relationship between the actor and the audience,\u201d which, in practice, means a stripped-down environment (a blank wall, wooden bleachers, a string of Christmas lights) and a playful approach to casting. In the company\u2019s most recent production before \u201cOthello,\u201d a satisfyingly delirious reinterpretation of \u201cPride and Prejudice\u201d called \u201cAre the Bennet Girls OK?,\u201d every male character\u2014from cad to nerd\u2014was played by a single actor, Edoardo Benzoni, his eyebrows aflicker. It was a tour de force that suggested something about the role of men in Austen\u2019s universe, turning all men into one man, his charisma adjusted to taste.<\/p>\n

Here, only four actors act out the entirety of \u201cOthello,\u201d in a similarly minimalist way: there are no costumes or special hats to mark the moments when they shift personae, but we always know who is who, through gestures. Susannah Hoffman plays Othello\u2019s wife, the eager, horribly innocent Desdemona; Brabantio, Desdemona\u2019s disapproving father; and Cassio, the devoted lieutenant who Othello suspects is sleeping with Desdemona. Susannah Millonzi is the horndog Roderigo, an easy target for Iago; she\u2019s also Iago\u2019s wife, the cynical Emilia, who sees through men like Roderigo. Bedlam\u2019s approach releases all sorts of unusual and exhilarating juxtapositions in the text. In a particularly elegant moment, Othello, played by Ryan Quinn, drapes his shirt differently to become the sensual Bianca, Cassio\u2019s desperate mistress\u2014which means that we witness the actors who play Desdemona and Othello swapping genders and masquerading as another tormented couple, one betrayal visible beneath the other.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Like \u201cWell, I\u2019ll Let You Go,\u201d \u201cOthello\u201d is a story of marital suspicion: the Moor sees his wife as a stranger. But, of course, he is looking in the wrong direction. Iago brags, \u201cI am not what I am,\u201d revelling in his ability to disguise himself without changing at all. He views the other actors as pawns, speaking in riddles that take on fresh meaning when the performer he addresses also plays his wife: \u201cIt is as sure as you are Roderigo \/ Were I the Moor I would not be Iago \/ In following him, I follow but myself.\u201d He sees the world both more clearly and less clearly, because it\u2019s all a game to him: move a prop, hit a nerve. In Bedlam\u2019s chilling \u201ctemptation scene,\u201d Quinn\u2019s self-assured, genial Othello arrives as a man in love, then shrivels like a punctured balloon. His insecurities aren\u2019t so hard to tap: his racialized self-loathing, his fear that all women are whores, his anxiety that he is unworthy of love. In a world saturated in hatred, Othello is not a difficult man to direct\u2014Iago just needs to find the right trigger, and let it all unfold.\u00a0\u2666<\/p>\n

Read more A Booming Shadow Market of Sketchy A.I. Investments<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Emily Nussbaum observes that a new Off Broadway play and Shakespeare\u2019s tragedy both hinge on a universal anxiety: How well do you know your partner? <\/p>\n","protected":false},"author":1,"featured_media":140,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[],"class_list":["post-141","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-theatre"],"yoast_head":"\nThe Fear Driving \u201cWell, I\u2019ll Let You Go\u201d and \u201cOthello\u201d - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=141\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Fear Driving \u201cWell, I\u2019ll Let You Go\u201d and \u201cOthello\u201d - 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