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2012

The Unraveling of Shakespeare's Othello

Corey M. Jay
Scripps College

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Jay, Corey M., "The Unraveling of Shakespeare's Othello" (2012). Scripps Senior Theses. Paper 117.
http://scholarship.claremont.edu/scripps_theses/117

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 The Unraveling of Shakespeare’s Othello

A Senior Thesis in Costume Design

by

Corey M. Jay

Submitted to Scripps College in Partial Fulfillment

of the Degree of Bachelor of Arts

Professor Sherry Linnell

Professor James Taylor

Professor Arthur Horowitz

Professor Eric Haskell

Friday, April 27th, 2012

 Table of Contents

I. Introduction…………………………………………………………………………………………………….…………….1
II. Text Analysis………………………………………………………………………………………………………………….2
III. Characters…………………………………………………………………………………………………………………….6
IV. Plot Synopsis………………………………………………………………………………………………………………..14
V. Predominant Themes…………………………………………………………………………………………………..17
VI. Concept Statement………………………………………………………………………………………………………23
VII. Design Inspirations……………………………………………………………………………………………………….24
a. Pre‐Raphaelite Art Movement………………………………………………………………………….24
b. Alexander McQueen…………………………………………………………………………………………27
VIII. Production Process…………………………………………………………………………………………………29
IX. Post‐Production Evaluation/Conclusion……………………………………………………………………….32
X. Acknowledgements……………………………………………………………………………………………………..37
XI. Appendices………………………………………………………………………………………………………………….38
a. Research Images……………………………………………………………………………………………..38
b. Rough Sketches………………………………………………………………………………………………..39
c. Final Renderings and Performance Appearance……………………………………………….45
d. Other Production Photos………………………………………………………………………………….65
e. Costume Plot…………………………………………………………………………………………………….68
f. Budget………………………………………………………………………………………………………………70
g. Ken Schoell Award…………………………………………………………………………………………….71
XII. Works Cited………………………………………………………………………………………………………………….72
Introduction

It is estimated that William Shakespeare’s Othello was first performed in 1604, and the work

is included in Shakespeare’s great tragic period that occurred from 1599 to 1608. Also included in

this tragic period are Hamlet, King Lear, Macbeth, and Antony and Cleopatra. Although four

centuries have passed since the penning of the iconic tragedy of the Moor of Venice, the timeless

story of Othello still causes modern spectators to forge intense and perhaps unwanted connections

with innately flawed characters, and continues to inspire passion in its audiences the world over.

Othello revolves around the central themes of honestly, fidelity, and race, and the Pomona

College Theatre Department’s April 2012 production drew focus to these core ideas by using the

Pre‐Raphaelite art movement of the 1850’s as a springboard for the show’s concept. The costume

design for this particular production wove a roundabout path from initial concept to final product: a

path that started with the Pre‐Raphaelites, dabbled in high‐fashion’s Alexander McQueen, and

ultimately focused on the figurative and literal unraveling of the characters throughout the show. In

this thesis I will analyze the text of Othello and the motivations of its characters, explore some of the

more prominent themes of the show, discuss design inspirations and our production process, and

give examples of the final costume designs as they were executed on the stage of the Allen theatre

in Pomona College’s Seaver Theatre complex.

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Text Analysis

Background

Although Shakespeare made the story of Othello his own, it is assumed that the

main textual source for the plot of the play was the Italian Giraldi Cinthio’s story The Moor

of Venice, in his collection of “A Hundred Tales” published in 1565. Much of the main plot

points in both Cinthio’s story and Shakespeare’s Othello are very similar, thus Cinthio has

been credited as the main source, although it is interesting to note that from just two brief

mentions of a prostitute in Cinthio’s story, Shakespeare entirely created the important and

compelling role of Bianca.

Location

The tragedy Othello is set in Venice, Italy in the late 16th century ‐ a time when Italy

was warring with nearby Turkey. The majority of the play’s action takes place on Cyprus, a

Venetian war outpost that Turkey is threatening to invade. While Shakespeare does not

specifically mention much about Venice and Italy’s geography in the text of Othello, he

often talks about it as being a place of relative wealth. This is evidenced by Senator

Brabantio who, upon being awakened in the middle of the night by yelling in the streets in

Act I, Sc. 1, exclaims, “This is Venice, My house is not a grange.”

Time

While the general time period of the text is known to be the late 16th century, the

time of year, or season, in which the action occurs is never expressly stated, leaving it up for

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interpretation. The action in the play occurs over the course of an undetermined period of

time – it can happen in as little as a few short days, or even as much as a few months. Some

scenes are purposefully set in the darkness of night so as to obscure specific actions or add

to general mayhem and confusion (such as the attack of Cassio by Roderigo in Act V, Sc. 1).

Religion

Religion is not mentioned outright many times in Othello, but it can be inferred that

religion is still a relatively central theme and contributes to the way the character Othello is

viewed as an outsider. Desdemona mentions in Act IV, Sc. 2 that she is a Christian, in

regards to her fidelity and chastity (Othello: “Are you a strumpet?” Desdemona: “No, as I

am a Christian”), and in the final act, Othello places intense emphasis on the importance of

Desdemona’s nightly prayers. Here, Othello does not want to murder someone whose soul

will not be saved, and believes that those who remain unforgiven will go to Hell. It is

generally assumed that the majority of the play’s characters are of a Christian background

and that Othello is once again an outsider in that he hails from a region that is

predominantly Islamic.

Gender Roles

Gender roles are clearly laid out in Othello and are relatively in‐line with gender

expectations of the late 16th century, in that men hold positions of power and there are few

representations of the female sex. The idea of “sex” also has great significance in Othello.

Bianca, the whore who has fallen in love with Cassio, is blamed for the death of Roderigo

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just by the fact that she is a whore and present at the scene. Cassio, who makes no secret

of his rendezvous with Bianca, is only deemed an unworthy lieutenant after he gets into a

drunken brawl – his coupling with a prostitute seems to have no importance. It is widely

assumed that wives will obey their husbands, yet mention is made of the power women can

have over their husbands (Act II, Sc. 3, Iago: “Our general’s wife is now the general”). Emilia

oversteps her social bounds by disobeying her husband’s orders to stay quiet, defiantly tells

Othello the truth in the final climactic scene, and ultimately gets killed for it. However,

when Iago first draws his sword to threaten her, it is clear he has broken a rule of society

because Gratiano cries “Fie! Your sword upon a woman?” The three roles for women in

Othello depict three distinct social classes and bring three different levels of maturity and

life experience to the stage; it can be said that the three roles of Desdemona, Emilia and

Bianca represent all of womanhood in a nutshell, be it in the late 16th century or our

contemporary 21st century.

Government

Othello is the General of Venice, and at the beginning of the play the matter of his

marriage to Desdemona is brought before the Venetian Senate, thus it is obvious that there

is a distinct and recognizable form of government in place. However, I would argue that the

power‐play within marriages and families is more important in Othello than whatever form

of organized government their society may have. Desdemona and Emilia both challenge

what is expected of them as wives (and daughters) in their own unique ways, and there is

no official protestation of the organized government that reigns.

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Race

Race is arguably the most important aspect of the play Othello, given that the

character of Othello is supposed to be a Moor from North Africa and he is the only dark‐

skinned character in the entire play. While I can understand the historical “shock factor” of

having a black actor (or a white actor in blackface) play the heroic title role, upon reading

Othello I found other themes to be much stronger and more prominent, such as the theme

of honesty. That being said, I find it intriguing that Othello successfully climbed the ladder

to become General of Venice before the play even begins, despite living in a time period so

biased against darker races.

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Characters

Othello

Othello is a heroic and powerful figure, and controversial in that he is African, dark‐

skinned and “the other” to the rest of the Venetians. He is described as being a true

warrior, yet gentle and level‐headed, and is married to the fair, young Desdemona. Othello

is nearing middle age, and is easily twice as old as his young bride; the difference in years

between Othello and the rest of the cast also contributes to the creation of Othello as being

“the other.” Not usually prone to jealousy, Othello allows a lie that his ensign Iago has

concocted about Desdemona’s fidelity to get under his skin so much so that he takes

drastic, irreparable action before learning the truth. Othello ultimately smothers

Desdemona, ruins his life’s prospects, and kills himself. Philip Kolin, in his 2002 essay

“Blackness Made Visible,” discusses the complexity of trying to understand and defend the

character of Othello, and mentions that, “numerous critics have pointed out that the

martial skills that distinguished Othello before the senate in act one are the detriments that

defeat him in his civil/married life.” Othello, a stoic and honorable figure at the start of the

play, unravels to become a crazed shadow of his former self by the very end.

Desdemona

Desdemona, Othello’s wife, is the daughter of Senator Brabantio and has married

Othello secretly without her father’s consent. She is placed on a pedestal as a type of

pseudo‐goddess, and is described as being very young, inexperienced, innocent, pure, and

perfect, as well as being the ideal, loving spouse. Marvin Rosenberg claims in the 1961

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book The Masks of Othello that, “Desdemona was not meant to have a spineless

tenderness,” yet she is trapped in this strict image by those surrounding her, and often by

the audience as well. Desdemona, unfortunately destined to remain naïve for all of

eternity, dies by strangulation without ever having understood the motives for Othello’s

sudden and unprompted anger and jealously toward her. Philip Kolin, in saying that, “Like

the script itself, she has been polarized, valorized as a saint or vilified as a strumpet,” shows

that the character of Desdemona is often misunderstood and wrongly confined to two very

strict ideals. The idealization of Desdemona renders her moral character untouchable in the

eyes of her husband; “her little flaws were seized on and declared to be her essential

qualities, and she was damned for them” (Rosenberg 207). Unknowingly, Desdemona

continues to beg Othello to grant pardon to Cassio, as a means of distracting her husband

from his sudden obsession with the fact that she has lost the special handkerchief he gave

her as a love token. This innocent action, attempting to calm stormy marital waters, instead

proves to be fatal, and only continues to stir Othello’s jealousy into a hateful rage, of which

Desdemona is never able to understand the true motives.

Iago

Iago, Othello’s senior ensign and the antagonist of the play, is a true villain in every

sense of the word. Even through the play’s climax and the unraveling of the horrors he has

created, Iago never once flinches or shows the slightest remorse for the unspeakable

amount of suffering he has caused. Iago is a very large and demanding role, and literally

speaking, has more lines and spends more time on stage than does the title character

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Othello. Interestingly enough, as Kolin chooses to point out, “Ironically, he [Iago] is the only

Shakespearian villain to survive the evil he engineers.” At the relatively young age of 28,

Iago is already Othello’s senior advisor, but is horribly bitter that the even younger Cassio

was chosen to be lieutenant over him. He cons multiple people throughout the story

(Roderigo, Cassio, Othello, Desdemona, his own wife Emilia, etc.), molding them to be

pawns in his plans to destroy Othello, and ultimately ruins his own life prospects because of

it. Iago himself is a skilled actor, and heartily convinces everyone around him that honesty

is his finest trait and that he will forever remain faithful to his dear friend the Moor. Iago

plants the (false) idea of Desdemona’s infidelity in Othello’s head early on, and proves to be

a great puppeteer in orchestrating and manipulating everyone else. The “No Fear

Shakespeare” version of Othello claims that Iago’s motivations for ruining the lives of

everyone around him are “notoriously murky,” yet I find the need to look no further than

his confession in Act II, Sc. 1, “For that I do suspect the lusty Moor/Hath leaped into my

seat… And nothing can or shall content my soul/Till I am evened with him, wife for wife.”

To sum him up, Iago is a jealous, charming and charismatic misogynist whose jealousy leads

him to pure villainy.

Another interesting factor in the role of Iago is the way he perceives himself; Rosenberg

claims that, “the source of his torment is not outside mistreatment.” Although it is without

specific emphasis, Iago gives the impression that, despite his crafty ways and ability to

charm, he also is deeply displeased with himself: “The contempt Iago shows for others is

fierce and tireless; but we learn at last that behind it is a searing contempt for his own self.”

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In pretending to be everyone’s friend, Iago loses any genuine personal relationships he may

have once had, and in the final scene takes a vow of silence, alienating himself even further.

Emilia

Emilia is Iago’s wife and Desdemona’s lady‐in‐waiting, and by far the strongest and

wisest female character of the play. In the text, it is apparent that she holds no affection for

her husband Iago, but does have a deep and true friendship with Desdemona. Emilia

respects Othello and his power, but shows her true headstrong character at the end of the

tragedy when she oversteps her marital and social bounds to show Othello what a fool he

was to let jealousy blind him. Emilia is ultimately stabbed by her husband when she refuses

to stop recounting the events of the story, and after unraveling the elaborate web Iago has

woven she dies on the same bed as her mistress and dear friend Desdemona.

Cassio

Michael Cassio is the young and naïve soldier recently appointed lieutenant by Othello,

and is the object of Othello’s hatred as a result of the lie Iago creates about the supposed

affair between Cassio and Desdemona. Cassio is a severe “light‐weight” when it comes to

alcohol intake, and after a trivial amount of wine gets prodded by Iago into a drunken brawl

with Montano. When Othello appears and nobody will give him a straight answer as to

what happened, Cassio is stripped of his status as Lieutenant and spends the rest of the play

trying to re‐gain his position. In his haste to return to Othello’s favor without actually

having to confront the Moor, Cassio stupidly takes Iago’s suggestion that he should ask

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Desdemona to instead plead his case to her husband, furthering Othello’s suspicions of an

affair between Cassio and Desdemona. Cassio is young and naïve, but good‐looking and

fond of women (hence his complications with the prostitute Bianca) and is the perfect prey

for both Iago’s plans and Othello’s jealousy.

Roderigo

Roderigo is a young and rich Venetian, and although he has his own plans to woo

Desdemona with lavish gifts of jewelry, he is nothing more than a pawn for Iago to

manipulate. Roderigo, the only male role not associated with the Venetian Senate or

Othello’s army, lets Iago devise plans for him to win Desdemona over: plans which involve

gifts that neither he (nor Desdemona) ever see again, and plans that involve dangerous and

ultimately fatal physical altercations in the middle of the night. Nearing the play’s climax,

Roderigo attacks Cassio in the streets after Iago convinces him that Cassio might also be

vying for the affection of Desdemona; Iago claims the death of Cassio will delay Desdemona

and Othello’s departure from Cyprus, allowing Roderigo more time to catch Desdemona’s

eye. Instead, in the final chaos of the last act, Roderigo and Cassio only end up wounding

each other, and Iago sneakily finishes what Cassio started, by killing Roderigo himself under

the guise of darkness.

Bianca

Bianca is the final of three female roles to appear in Othello. She is a prostitute who has

fallen in love with Cassio, but Cassio doesn’t return her sincere feelings and laughs her off.

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Bianca is made an example of by the evil Iago, merely by being present at the scene of the

crime when Cassio kills Roderigo: “This is the fruits of whoring.” (Iago, Act V, Sc.1) Bianca

represents the plight of the lower‐class working woman who is forced to survive by

compromising that which society values; although she manages to fall in love with someone

who does not return the favor, she is doomed to be seen as a perpetrator of violence and

unworthy of human decency.

Brabantio

Brabantio is Desdemona’s despotic father, and a senator of Venice. Although he has

apparently invited Othello into his house numerous times (and thus allows opportunity for

Othello to fall in love with his daughter), Brabantio does not approve of his daughter’s

marriage, presumably because he sees Othello as an outsider and, most importantly,

unworthy of his daughter’s high‐class upbringing. It is unclear whether this hatred for his

son‐in‐law stems from differences in skin color, or religion, or merely power struggles, but

Brabantio makes his opinion clear by renouncing Desdemona as his daughter after she

pledges her allegiance to her new husband. Brabantio is pompous and believes that

children should obey their parents, and claims Othello used magic to put a spell on

Desdemona. Apparently the grief of an unfaithful daughter is enough to do Brabantio in,

because by the end of the play it is mentioned that he has died.

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Duke of Venice

The Duke of Venice is the “official authority” of Venice, and the main function he serves

is to ask Othello to tell the story of how he and Desdemona fell in love. He then sends

Othello to brace Cyprus for the imminent Turkish invasion.

Montano

Montano was the previous governor of Cyprus. He tries to calm the drunken Cassio, and

as a result is harangued into a swordfight that leaves him wounded at the knee and leaves

Cassio’s reputation severely damaged. Later, Montano is present for the climax of the final

act of the show, and is another witness to the tragic end of Venice’s leader.

Lodovico/Graziano

Lodovico and Graziano are senators with Brabantio, and at the end of the play Graziano

is the bearer of the news that Brabantio has died. Lodovico is seemingly a true gentleman,

and chastises Othello for striking Desdemona without solicitation. In addition, Lodovico is

also apparently a very attractive human being, seeing as Emilia recounts to Desdemona in

the Willow Scene that she knows a girl who would “walk barefoot to Palestine for a touch of

his nether‐lip.”

Other Roles

Othello also has the character of a clown, which is a relatively small but still fairly

important role that provides witty commentary to the overall themes of the play. He

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appears only in two scenes and ironically pokes fun at the concepts of being truthful and

lying. However, in the Pomona College Theatre Department’s 2012 production of Othello,

the character of the clown was cut from the text in an effort to reduce running time and

cast size.

Other small roles within the play are senators, servants, attendants, officers, soldiers,

messengers, gentlemen and a herald, who appears only once and whose singular speech

announcing the evening’s festivities makes up the entirety of the second scene in Act II.

Given the nature of the script, and the ambiguous number of people required to play

“senators,” “officers,” and “gentlemen,” the cast of a production of Othello can fluctuate

greatly in size. There are twelve speaking roles, but an acting company can range from

anywhere between nine and twenty people if roles are appropriately doubled, such as

Brabantio and Lodovico, or Graziano and the Herald. As mentioned with the elimination of

the role of the clown, it is not uncommon that some roles are cut from the script entirely;

the role of Bianca is often one of the first to go. In the Pomona College Theatre

Department’s production of Othello, director Arthur Horowitz kept the cast to a smaller,

more intimate number of twelve actors, without the role of the clown but putting great

focus on the role of Bianca.

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Plot Synopsis

Two especially important events serve as plot instigators before the opening of the

play: the secret marriage of Othello and Desdemona, and Othello’s decision to appoint as

his lieutenant the young and inexperienced Cassio instead of his older and more

experienced ensign, Iago.

In the first scene, Roderigo is lamenting the fact that the woman he loves,

Desdemona, has married another man, Othello. Iago, under the guise of helping Roderigo

woo Desdemona, convinces Roderigo to wake up her father, Brabantio, in the middle of the

night to tell him his daughter has run away to be married. At first, Brabantio thinks they are

merely pulling a prank and scoffs at what the two gentlemen on the street are telling him;

later, when Brabantio has accepted that what they say is true, he calls a midnight meeting

of the senate. In this meeting, Desdemona is summoned, Othello explains how they fell in

love, and Desdemona professes her allegiance has changed from her father to her new

husband. Brabantio renounces Desdemona as his daughter, and the Duke of Venice then

sends Othello, his new wife, and the rest of the military, to protect the island of Cyprus from

an imminent Turkish attack.

A large storm disrupts the fleet of ships when en route to Cyprus, and while it

heavily devastates the Turkish army and their ability to attack, it does no more harm to the

Venetian fleet than separate Othello from his wife and his men. Once on shore, Othello

calls for a Cyprus‐wide holiday to celebrate both the retreat of the Turks and his new

marriage, but appoints the drinking “light‐weight” Cassio to be on watch to ensure that

revelry doesn’t get out of hand. Iago, aware of Cassio’s incapacity to tolerate alcohol, gets

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Cassio drunk and provokes him to fight so loudly in the streets that Othello is awakened.

Every person present at the scene of the brawl refuses to tell the story of what happened,

including Iago who professes loyalty to Cassio, and as a result Othello immediately strips

Cassio of his status as lieutenant.

Cassio, embarrassed by his drunken actions and fearful of his new reputation, heeds

Iago’s new advice and asks Desdemona to put in a good word for him with her husband,

which of course she caringly does, and thus prevents Cassio from having to confront Othello

himself. Desdemona’s lady in waiting, Emilia, picks up Desdemona’s prized handkerchief (a

mysterious first gift given by Othello) after it is accidentally dropped and gives it to Iago, her

husband, because he has asked her to filch it multiple times. Iago then places the

handkerchief in Cassio’s unknowing possession, and plants the idea in Othello’s head that

Desdemona is having an affair with Cassio. Othello, never before prone to jealousy,

becomes suddenly obsessed with the notion of Desdemona’s infidelity and thus begins the

downfall and unraveling of this seemingly noble and heroic character.

Later, when Othello sees Cassio laughing with Iago (ironically enough, laughing

about the lovesick antics of the prostitute Bianca) and waving Desdemona’s handkerchief

around, Othello assumes Cassio is recounting stories of his conquest of Desdemona, and

assumes that Desdemona re‐gifted the prized handkerchief to her new extra‐marital lover.

Othello, freshly consumed with irrational jealously, orders Desdemona to bed. Iago,

still pretending to help Roderigo woo Desdemona, concocts a plan that Roderigo should

attack Cassio after he returns from supper with Bianca, which would supposedly eliminate

the (non‐existent) threat of Cassio wooing Desdemona before Roderigo can get the chance.

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Iago cares not which man might end up killing the other, either Cassio or Roderigo, because

both outcomes would benefit his long‐term plan of severely de‐railing the Moor. After the

initial skirmish which leaves Roderigo wounded, Iago sneaks up and wounds Cassio, finishes

what Cassio started by killing Roderigo himself, and then feigns total innocence. Othello,

still blinded by jealousy, returns to Desdemona in their bedroom and, despite her truthful

protestations of fidelity, smothers her to death in a passionate rage. Emilia enters to tell

Othello of the fight in the street, and, upon discovering Desdemona’s body, reprimands

Othello for believing Desdemona was unfaithful. Once she has realized that every tragic

event has occurred as a result of her husband Iago, Emilia renounces her husband and what

was already a love‐less marriage, and reveals to everyone the truth of what happened,

starting with the admission that it was she, Emilia, who first stole the fateful handkerchief

and that Desdemona would have never willingly given it to anyone. Iago stabs Emilia as she

recounts his unforgivable actions and manages to escape from the room, only to be caught

again and sentenced to death after swearing to remain forever silent. Othello, devastated

by the truth of the situation and the guilt of murdering his innocent wife, then stabs himself

and dies next to both Desdemona and Emilia. In a somber conclusion, the wounded Cassio,

previously stripped of his title as lieutenant, is left in charge of the tragic wreckage of

Cyprus.

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Predominant Themes

Race and the concept of “the other” have been the main and most important

themes of Othello in regards to traditional criticism. Irony is also often heavily emphasized,

though race issues are given predominant importance in almost any given production of the

classic tragedy. Brabantio rejects Desdemona’s marriage to Othello because of their

marked differences, and the reader or spectator is constantly forced to question whether it

is Othello’s flaws as a human being that cause the events to unfold in the sequence they do,

or whether they are merely the result of Othello being made into “the other” by the fact he

is a dark, older Moor from Africa ruling in a world of younger, white citizens.

Setting aside the issue of race, and looking beyond the implications of the character

of Othello as being “the other” (foreign, dark‐skinned, and older) another important theme

that I personally found particularly relevant, is that of honesty. Directly mentioned

countless times in the text, mostly as claims by Iago that he is an “honest” man and

sincerely loves Othello, the theme of honesty and the inherent contradictions therein are

some of the more compelling issues within the text.

Interestingly enough, in Philip Kolin’s 2002 essay “Blackness Made Visible,” he lists

seven “inflammatory issues” that are central to the play, but fails to mention that of

honesty. The first issue on his list is, not surprisingly, that of race and “miscegenation,” and

the other six are adultery, violence, sexuality, jealousy, reputation and class warfare. I

would have to agree that all seven issues mentioned are indeed central to the core story of

Othello, but I fail to understand why Kolin noticeably excluded honesty from his list.

Understanding that honesty is often closely associated with the issue of reputation, and

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how one builds and maintains said reputation, I still think the issue of honesty is strong

enough on its own to warrant its inclusion in Kolin’s list as an eighth inflammatory issue.

Just considering the sheer number of times the word “honesty” is spoken in the text should

be a clue as to its central importance to the plot.

A few examples of the prominence and importance of honesty in Othello are:

Iago is described by multiple people as being a good and honest man on numerous

different occasions, even after we the audience learn through his monologues and asides

that Iago is the most vile and least honest man in the story. Desdemona remains naively

honest throughout the entirety of the play, yet Othello never believes her honesty; Emilia

even risks her life to reveal the honest truth of the crimes committed by her husband at the

conclusion. Iago weaves multiple fraudulent story lines, and somehow uses his charisma to

convince everyone with whom he interacts that he is, deep down inside, a truly honest man

up until the very end.

When the story of Othello is brought to the table and analyzed in a 21st‐century

context, both the popular main theme of race and, my personal favorite, the theme of

honesty, reverberate particularly strongly in a modern reading. It is difficult not to draw

connections between the plot points of Othello and everyday occurrences in the modern

world around us; if one considers the current economic and political corruption that run

rampant, and the obvious fact that the present‐day president of the USA is dark‐skinned

and of African heritage, it is nearly impossible not to see the parallels that are heavily

present despite four centuries between Othello’s era and our own.

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 Regardless of exactly which theme is most important in Shakespeare’s Othello,

either honesty or race, it is important to note that the message of Othello still continues to

have a profound effect upon its modern audiences. Perhaps one of the most intriguing

aspects of the story of Othello is its capacity to transform the audience from being passive

spectators into active participants who are powerless against aligning themselves with the

shameful plights of the characters. As Kolin says, “Othello is so explosive that it has

uprooted audiences from their stunned and seated anonymity to become vocal rhetors of

protest and rage and, on some occasions, even defenders of character.”

The aspect of Othello that perhaps most captures the consciousness of the audience

is the uncertainty of character adherence – to whom should audience members relate and

pledge their allegiance, when each and every character is not without their faults (with the

possible exception of Desdemona, though her character flaws or lack thereof are still highly

debatable). Especially in regards to the show’s “hero” and title role, it is never clear

whether Othello’s actions can ultimately be forgiven, or even understood, or whether he

can redeem himself for taking the life of his true love, by the reciprocal action of taking his

own. To quote Kolin again, “Partiality in Othello breeds dissonance. If we side with Othello,

we run the risk of valorizing and vindicating his unthinkable deeds.” But if we do not side

with Othello, then with whom should we align ourselves? Surely not the evil Iago, nor the

young and foolish Cassio, nor the self‐centered Roderigo. Emilia seems to have good morals

and a strong conscience, but we cannot forget that she could have prevented the entire

tragedy had she not filched Desdemona’s handkerchief and given it to Iago in the first

place... Bianca is doomed from the beginning by virtue of her lowly station in that she is

Jay 19
already a prostitute in a male‐governed world, and Desdemona in all her perfection, atop

her pedestal, protests too little, and submissively accepts Othello’s irrational hatred toward

her as assuredly stemming from some sort of personal character flaw, a flaw which we

never see nor understand.

In conjunction with the themes of honesty and race predominant in Othello, one of

Kolin’s phrases evokes a particularly strong image which helps to summarize the struggles at

the core of the play: “Of continuing importance to critics has been Iago’s relationship with

Othello, studying the two characters in light, or in the shadow, of each other.” This

interplay of light versus shadow that Kolin mentions has many manifestations within the

tragedy, most notably in the opposing skin colors of the two largest roles, but also reflecting

on fidelity, personal motives, and honesty. The concept of the “shadow” resonates

particularly strongly with the idea of honesty, given that an honest man is expected to

reveal his motives in plain light for all to see, whereas in contrast a dishonest man, or in

Othello’s case, the villain Iago, keeps multiple secrets festering in the shadows and hidden

from plain view.

In a New York Times review of an Off‐Broadway production of Othello done in a

relatively traditional style in 2009, directed by Arin Arbus, the critic Charles Isherwood also

finds importance in the emphasis this particular production placed on light, dark, and the

truth. Calling Othello the “most taut and tense of Shakespeare’s tragedies,” Isherwood

applauds the actress playing Emilia and her determined exposition of Iago by saying, “The

heart leaps in sympathy as Ms. Forbes’s cowed Emilia finds the courage to expose her

Jay 20
husband’s evil, shedding the hard light of truth on the enveloping darkness. But of course it

is much too little, much too late.”

My interest is especially piqued by the concepts of chiaroscuro – the interplay

between light and dark, black and white, shadow and light – and the possibilities for its

application to the story of Othello. As the costume designer for the Pomona College

Theatre Department’s production of Othello, I will explore the interplay between dark and

light that is present in the story’s text and translate these contrasting concepts by visually

applying them to the overall costume design of the production. Additionally, while the

color black will play a relatively large role in the construction of the costume design, I will

avoid the use of white altogether, instead using varying shades of off‐white, champagne,

tan and grey. This is not intended to de‐emphasize the stark contrast that exists between

black and white in essence, but instead intended merely to help the lighting designer –

because the palette mainly consists of dark, saturated colors, using lighter colors such as

cream and off‐white will still come across as being in stark contrast without blinding the

audience.

One final concept, which has strong implications in regards to the tactile adherence

to fabric that accompanies costume design, is that of the relative “unraveling” of each of

the main characters in Othello. Elegantly composed and put‐together at the start of the

play, Othello is so affected by jealousy that, by the end, he is a shadow of his former self

and has come so unraveled as a character that he is hardly recognizable. Desdemona’s

insecurities, fueled by Othello’s irrational jealously, serve to unravel and weaken the fiber of

her being such that she succumbs quickly to her husband’s strangulations. Emilia, in

Jay 21
contrast, is a normally obedient and subservient wife; by the end, the character has so

unraveled that not only does she throw obedience out the window, she risks her own life to

reveal the truth. Iago, however, is the only character who, by the end, maintains any hold

on his former composure; although he, too, has come unraveled, he is able to hold it

together enough to swear silence and to never divulge his secrets or motivations.

In continuing this theme of unraveling, in the costume design for Othello I will play

with the idea of the removal of clothing as the show progresses, as well as with the

“loosening” of the constricting fibers of the show, such as the un‐buttoning of military

jackets, the loosening of ties, the rolling‐up of sleeves, the removal of suspenders, etc.

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Concept Statement

After discussing the Pomona College Department of Theatre’s production of Othello

with director and department chair Arthur Horowitz, I have once again found resonant

connections with the themes of race, honesty and chiaroscuro. Although Horowitz has

expressed the desire to keep the production concept of his Othello relatively fluid,

anachronistic and not limited to any singular set of boundaries of a specific era, he stated

that the Pre‐Raphaelite art movement of England in the 19th century should be the key

starting point for the design inspiration of the production’s costumes. More importantly,

however, when asked what core concept will be the motivation for his particular

production, Horowitz simply responded with: “Telling the story.”

Our production of Othello fell in line with the current trends witnessed in the other

modern professional productions of Othello mentioned above, trends that lean toward a

traditional and classic presentation of the text to draw focus to the original message and

written words. Merely by focusing on “telling the story, director Horowitz emphasized the

importance of honesty and truth in Othello from day one. Through this focus on storytelling

and honesty, Horowitz drew attention to the drastic consequences that result from a lack of

honesty in Othello, and allowed for full artistic exploration of the catastrophic black and

white consequences by means of the various design aspects.

The costume design in particular pulled from the Pre‐Raphaelite art movement, as

well as the great fashion designer Alexander McQueen, to focus on the interplay between

light and dark and the idea that each and every character goes through a distinct process of

unraveling.

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Design Inspirations

As a brief introduction to this section, it is only fitting to mention by name the other

individuals I had the great fortune to be working with on this project. As mentioned earlier,

the director for Pomona College Theatre Department’s spring 2012 production of Othello is

professor and department chair, Arthur Horowitz. The set designer for Othello is James

Taylor, design faculty of the department, and department expert on a figure pivotal to the

history of theatre design, Edward Gordon Craig. The lighting design is another senior thesis

project, designed by a fellow student and senior at Pomona College, Giselly Rodriguez.

Director Horowitz asked that the set design of the production play to the Professor

Taylor’s strengths and draw inspiration from Edward Gordon Craig, and that particular

emphasis be placed on Craig’s use of large panels and his iconic stark black‐and‐white

woodcuts. Since scenic design is the other design aspect that most directly affects costume

design (closely followed by lighting design), these woodcuts by Edward Gordon Craig, many

of which depict iconic characters from Shakespeare’s greatest works, also made up part of

the visual research for the costume design.

Pre‐Raphaelite Art Movement

In reference to the costume design for his production, Horowitz specified that the

Pre‐Raphaelite Art Movement need only be a platform from which I could jump off, and

that I should not be limited to only drawing inspiration from this particular movement.

Horowitz had also mentioned, somewhat off‐hand, that if, after starting with the Pre‐

Raphaelites, I ended up finding inspiration in fashion designers such as Alexander McQueen,

Jay 24
or finding that the character of Iago is most suitable in a leather motorcycle jacket, then he

welcomed the idea. I took his suggestion to heart, and although Iago did not end up

wearing a leather jacket, Alexander McQueen did indeed directly inspire many of the

costumes, namely Desdemona’s signature cranberry‐red silk and velvet coat.

In our discussions, Horowitz also suggested I research the artist Lawrence Alma

Tadema, a Dutch artist from the same general time period but who does not exactly pertain

to the strictly English Pre‐Raphaelite Brotherhood movement. Although Alma Tadema was

not a key figure in the Pre‐Raphaelite movement, his artwork and paintings similarly focus

on large quantities of fabric and the fluid silhouettes of Pre‐Raphaelitism, and brings his

own emphasis on connecting his subjects to ethereal bodies of water.

The book Essential Pre‐Raphaelites, edited and with an introduction by Lucinda

Hawksley, has been my most solid resource for a thorough introduction to the

“quintessentially English art movement” that began with seven like‐minded English men

who in 1848 came together to reject the modern English school of art and draw focus back

to the beauty of nature with their own distinct styles of painting. As Hawksley mentions in

her introduction, the movement was officially called the “Pre‐Raphaelite Brotherhood,” and

“intense coloring, careful draughtmanship and a new symbolic vocabulary would be

acknowledged as the defining characteristics” of this movement propelled by young,

resistant and passionate artists. Hawksley’s description of the Pre‐Raphaelite Brotherhood

as being a “youthful opposition to a prevailing social, political or symbolic order,” has

immediately noticeable connections to the actions of the youthful Desdemona resisting the

government of her father by following her passions to marry Othello.

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 Of all of the redeeming characteristics of the Pre‐Raphaelite art movement, I am

particularly drawn to the attention that is paid to the detail of the subjects and the

elaborate extent of their subject’s personal accessories. Dripping with elegant bracelets,

necklaces, hair adornments, belts, buckles, sashes and military paraphernalia, each Pre‐

Raphaelite subject seems to be a masterpiece in minute symbolism; symbolism as such, and

attention to even the smallest detail, prove to translate especially well to the Pomona

College Theatre Department’s production of Othello, given that the production was held in

the very intimate performance space of the black‐box Allen Theatre. This allowed the

audience to witness every detail of the designs up‐close.

Another aspect of the Pre‐Raphaelite Brotherhood art movement to which I am

particularly drawn has little‐to‐nothing to do with the pieces of art themselves. After

researching many of the iconic portraits of the movement, it is easy to recognize many of

the same faces in the subjects – as it turns out, many of the artists used the same models as

muses, and even used each other’s wives and daughters as inspiration. If you research

further into the relationships that developed between the artists and their models, you will

quickly find that the entire art movement is made up of convoluted stories of artists

painting each others’ wives, who then became their mistresses, which resulted in divorces

and new marriages and the forging and dissolution of countless relationships. I find

similarities between the stories of the Pre‐Raphaelite painters and their subjects, and the

convolution of the characters of the story of Othello, i.e. how Cassio and Roderigo and

maybe even Iago are pursuing Desdemona, and the question of Iago’s sexual orientation,

Jay 26
and Iago’s supposition that Othello has slept with Emilia, and Cassio’s entanglement with

Bianca…

Alexander McQueen

As mentioned earlier, what started out as an off‐hand suggestion by the director

resulted in Alexander McQueen becoming a direct influence on many aspects of the

costume design, and the design of the female roles in particular. The preface of the book

published by the New York Metropolitan Museum of Art’s 2011 Alexander McQueen

Exhibit, Alexander McQueen: Savage Beauty, starts off with a description of one of

McQueen’s tattoos that reverberates particularly strongly with this production of Othello.

The preface author, Andrew Bolton, says: “Tattooed on Alexander McQueen’s upper right

arm were the words ‘Love looks not with the eyes, but with the mind,’ a quotation from

Shakespeare’s A Midsummer Night’s Dream.” Not only do we know that the late acclaimed

fashion designer held a deep (and permanent, seeing as it was tattooed on him)

appreciation for the work of Shakespeare, we also know that the ideas of love, and,

consequently, beauty, greatly influenced his work.

Later on in the same preface, Bolton continues: “The themes of love and beauty

were central to his vision of fashion, which reflected upon the politics of appearance by

revealing both the prejudices and the limitations of our aesthetic judgments.” Taking this

into consideration, and realizing just how much physical appearances and aesthetic

judgments prejudice and limit our perceptions of any given character (especially those

Jay 27
characters present in Othello), I began to focus on the three female roles and how they, too,

could emanate the themes of love and beauty in the style of McQueen.

A quick look at the images chronicled in the book Alexander McQueen: Savage

Beauty reveal McQueen’s emphasis on bold statements and strong lines, deep and rich

colors, the contrast between fluidity/rigidity, and a strange fascination with incorporating

the often‐harsh natural world into his designs. This fascination with nature was a pleasantly

unexpected connection between Alexander McQueen and the previously‐researched Pre‐

Raphaelites. Ultimately, McQueen directly influenced the design of both Desdemona and

Bianca, and had profound influences on Othello’s “otherness” (inspiring his claws, scales

and animal fur collar) as well as the concept of colors draining from the overall palette of

the show.

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Production Process

The production process began in late May of 2011 when it was decided that Othello

would be my senior thesis. I spent part of the summer recess researching Pre‐Raphaelites,

in email discussions with Horowitz, and reading (and re‐reading) the text. The fall semester

of the school year was spent analyzing the script, doing extensive image research, and

continuing discussions with Horowitz in person.

At the end of the fall semester, I presented rough sketches to the department’s

production team, sketches which encompassed the research I had done and the general

ideas I had for the character designs. This particular production meeting was exceedingly

helpful in the final decision process of my designs – receiving feedback from the director,

the other designers, my academic adviser and the costume shop manager on what ideas

they liked, the ideas upon which I should elaborate, and the extent to which the designs

were feasible, was invaluable information.

Over the winter recess I conducted more research into specific character looks, and

at the start of the spring semester I presented my final renderings, executed in ink and

water color, along with fabric swatches of the types and textures of fabrics I would ideally

like to include in the designs. After my designs were approved, then began the, frankly,

magical process of planning, purchasing, constructing, and executing the final designs.

I spent many hours together with my adviser and costume design faculty member,

Sherry Linnell, and the costume shop manager, Suzanne Schultz Reed, discussing fabric

types, estimating yardages, and calculating costs and expenditures. I dug around in our

department’s costume storage rooms, and luckily enough found almost the exact number

Jay 29
of military jackets needed, in the exact dark blue‐green color I had imagined. I spent the

major part of five days with Professor Linnell in the heart of Los Angeles’ fashion district,

choosing everything from embellished velvet fabrics to metallic military trim and feeling

simultaneously overwhelmed at the sheer amount of fabrics available, a little guilty to be

having so much fun while working on my thesis, and generally remarkably blessed to be

having such a fun and creatively fulfilling time.

After the fabric purchasing came the construction phase, and throughout the

construction phase we held actor fittings. As a side note, I have spent upwards of 8 hours a

week working in the costume shop since my first semester of freshman year, and there has

never been an instance when I did not look forward to my time spent sewing, learning, and

creating in that room. However, this time around, during the construction phase of Othello,

I experienced something unusual. In all honesty, I had anticipated longer hours, many

stressful decisions to make, and resigning myself to compromising one or two of my designs

in efforts to reduce costs or save time. On the contrary, while I did indeed spend many

more hours in the costume shop than before, I was faced with enjoyable decisions to make,

and was delighted every time we held an actor fitting. I did not anticipate the sheer joy that

comes with seeing something that had started out as a glimmer in my imagination evolve

into a character drawing on a piece of paper and then evolve into a real garment worn by a

real person before my very eyes.

After the construction process, which was, admittedly, a bit of a race to the finish,

began the dress rehearsals. There were three official dress rehearsals, as well as a

“preview” performance, after which I could still tweak my designs, before officially

Jay 30
presenting them on opening night. Once again I was greeted with many things I had not

anticipated, most notably the emotional energy required to sit through three hours of

Shakespearian tragedy night after night, and the incredible endorphins that coursed

through me when I first saw Othello swagger onstage in his full regalia. Somehow, I

managed to beat the system – not only was I truly proud of the designs I was putting on the

Allen Theatre stage, I had learned invaluable lessons and enjoyed every step down the path

to this thesis.

Jay 31
Post‐Production Evaluation

After completing such an extensive project – guiding an artistic concept and designs

from their initial stages on paper through to their final, physical forms on stage – it is

necessary and often therapeutic to reflect upon the process. Since the closing of Othello, I

have been able to think back on the process and reflect upon what challenged me along the

way, what I learned, what I would change if I could do it again, and that with which I was

particularly pleased.

In regards to the challenges that I met along the way, I have two specific examples.

First was the men’s military boots. Not only are said boots very expensive, they often take

longer to obtain due to back‐orders at warehouses or, in our particular case, due to their

warehouses being located in Dubai. In addition, a few of our actors required shoe sizes on

the extreme ends of the spectrum, adding another layer of difficulty in obtaining the

desired look of the boots. Even though we had to be creative in our boot purchasing, and

go so far as to solicit the services of a professional boot‐stretcher in order to obtain boots

that fit, thankfully we had all actors in appropriate boots by the time the first dress

rehearsal rolled around.

The second example of a specific challenge I encountered was that of the claws that

adorned Othello’s armored shoulders. I had originally constructed them out of “Model

Magic,” a kid‐friendly modeling substance that was lightweight and remained flexible even

after curing – a great idea in theory. As it turns out, the claws did not end up surviving the

first run – as the description of the medium might suggest, they were not very durable and

could not withstand much sudden impact (especially given that the actor, unaccustomed to

Jay 32
his new broad shoulders when in costume, re‐learned his spatial awareness by accidentally

knocking into a few doorjambs). After a failed attempt to salvage the claws with copious

amounts of hot glue and waxed thread, the first claw prototype was canned and I moved on

to a second, sturdier method at the suggestion of Professor Linnell. This second batch of

claws consisted of an interior wire frame, covered with more “Model Magic,” and then

covered with medical plaster gauze which hardened to form a cast over the claw shape.

Thankfully, this second, sturdier batch of claws lasted the entire run of Othello, but just

barely: apparently, a liberal dose of hot glue was applied after each performance to

maintain the original integrity of the claws.

During the process of Othello, I was greeted with two other unexpected challenges.

The first was the challenge of delegating tasks and giving orders. Having been in and out of

the theatre for almost ten years, and having spent the last two summers working 80‐hour

weeks in a professional costume shop, I am accustomed to accepting tasks, completing

them as told, and asking questions of the designers in regards to specific details. This time

around, the tables were turned – I found people approaching me with questions (“Do you

want this trim 1” or 2” away from the edge?” or “How high should that collar sit?”).

Strangest of all, and something I never quite got used to, was having my boss of four years

(and someone whom I admire to greatly) ask design questions of me – and expect an

answer.

Perhaps the most difficult challenge I was faced with throughout the entire process

was balancing the importance of my design inspiration with the availability of three

essential ingredients: time, labor and funds. At what point would I change from being

Jay 33
merely a student learning the ins and outs of the production process, into being the

dreaded diva designer who demanded every little detail to be exactly as originally

imagined? Ultimately, I was really only faced with this challenge in theory – I feel incredibly

lucky in that what showed up on stage in April was almost an exact copy of what had shown

up in my renderings four months prior, and did so with relative ease. On one specific

occasion, I realized that a certain larger trim had been added to Iago’s large coat collar,

when I had intended that a smaller, subtler trim be added to this crucial costume piece

instead. As bad as I felt asking for the trim to be changed (and it took me a few minutes to

work up the nerve to ask it – after all, who was I to complain when dozens of people were

working hard to put my designs on stage for me?), ultimately I am glad that I did so, and

grateful that I did not feel the need to ask to change more.

As mentioned earlier, this entire process was chock full of learning moments which I

will carry with me long after this thesis comes to rest on a bookshelf. Perhaps what I

learned quickest is that this particular production process of Pomona College’s Othello

really has been an idyllic and serendipitous one – I can easily imagine that if I am designing

costumes in the “real world” I may well be met with cranky directors, ill‐tempered

designers, a complete lack of funds or time or labor or inspiration or, most importantly,

support… I am still not sure how I lucked out with having such a stellar and supportive group

of people surrounding me during this process.

Throughout this process, I also learned the full extent to which live theatre is

collaborative: everything relies on collaboration. As I said before, I have spent many hours

in the theatre prior to embarking upon this thesis project, so I was no stranger to

Jay 34
collaboration – however, it wasn’t until my designs were on stage that I realized, or perhaps

began to fully appreciate, the amount of collective energy that was being devoted to pull

together one single show.

On another, different note, I also learned that, even if the color is perfect (as it was

for our show), purchasing steel‐blue‐grey stretch velvet and expecting the costume shop to

be happy about working with such a slippery and frustrating material is maybe not the best

idea.

Now that all is said and done, and now that the show has been struck, and now that

all we have by which to remember our production of Othello are the photos and memories,

I can honestly say that I would change very few things about the process. So much of the

process was so valuable a learning experience that I would not change a thing… except for

the following three specific instances:

1) I would make more prototypes of the claws, and continue to make them until we

came across a method that was sturdy enough to withstand nine performance runs.

2) I would dye the lace “duster” coats of Desdemona’s a different and darker shade of

red – when not under theatrical lights, they come across as being a beautiful

cranberry color, but once they came under the LED stage lights used in the

production, they came across as being closer to orange in color than the intended

red (evocative of bloodshed).

3) I would have invested more time and consideration in the design, placement, and

use of the weaponry and fighting. Othello involves two major fight scenes, and the

necessity of daggers, swords, and sword baldrics came to my attention shortly

Jay 35
 before dress rehearsals, meaning a scramble for supplies and added stress for the

costume shop manager that could have been avoided, had I thought to bring up the

topic of weaponry earlier in the process.

Overall, I can honestly say that I was very pleased with the final outcome of the show,

and like I said earlier, there is very little I would actually change or do‐over if given the

chance. In particular, I am very proud of the statement that Othello’s large armored coat

made, and the way it aided the character in appearing larger (and stranger) than life, as well

as the way the three female characters came across in three distinct looks, each embodying

different combinations of Pre‐Raphaelite and Alexander McQueen imagery. Ultimately, I

was satisfied with the coherence of the show as a whole and thought that each character

looked like they truly belonged in that strange and beautiful anachronistic world we

collaboratively created.

Jay 36
Acknowledgements

In particular, I would like to thank:

Suzanne Schultz Reed and Sherry Linnell, for their ceaseless energy and unwavering guidance
throughout this process, and for countless invaluable tidbits of advice and life lessons.

Art Horowitz, for giving me artistic freedom and the sense of security to challenge myself and
explore boundaries.

Jim Taylor and Giselly Rodriguez, for providing my costumes beautiful scenery and lighting in which
to exist.

The David Ken Schoell Memorial Award Fund, for providing me with an extra $1800 with which to
carry out my design concept.

Gay Crusius, for her beautiful expert custom tailoring on Desdemona’s coat and Roderigo’s suit.

Matt Gorka and Steve Barr, for not only making Othello a reality for the Pomona College Theatre
Department, but for providing much needed comic relief and study breaks.

Mary Rosier and the Theatre Department, for always greeting me with a “Good morning!” and
providing me a home for the last four years.

My mother, for handing me a needle and thread when I was three, for providing a sounding board
for sketches, ideas, and designs throughout this whole process, and for coming to see opening night.

My father, for never giving false compliments, for coming to see opening night, for kindly letting me
know my exact design flaws during intermission of opening night, and for giving me the opportunity
to pursue my dreams.

My dear friends, who willingly sat through three hours of Shakespearian tragedy during their own
thesis‐crunch time and professed to enjoy it.

Truly, thank you.

Jay 37
Appendix A: Research Images

Edward Gordon Craig: Image has been removed

Pre‐Raphaelite Art Movement

Women: Detail and Texture (Image has been removed)

Pre‐Raphaelite Art Movement

Women: Detail and Texture 2 (Image has been removed)

Pre‐Raphaelite Art Movement:

Men (Image has been removed)

Pre‐Raphaelite Art Movement:

Desdemona (Image has been removed)

Alexander McQueen

Desdemona (Image has been removed)

Alexander McQueen:

Iago/Roderigo (Image has been removed)

Alexander McQueen:

Bianca (Image has been removed)

Jay 38
Appendix B: Rough Sketches

Othello, Iago, and Military

Jay 39
Rough Sketches

Iago

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Rough Sketches

Emilia

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Rough Sketches

Bianca

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Appendix B: Rough Sketches

Desdemona

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Appendix B: Rough Sketches

Desdemona (continued)

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Appendix C: Final Renderings and Performance Appearance

Desdemona’s Overcoat: Rendering

Jay 45
Appendix C: Final Renderings and Performance Appearance

Desdemona’s Overcoat: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Desdemona Lace Overlay: Rendering

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Appendix C: Final Renderings and Performance Appearance

Desdemona Lace Overlay: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Desdemona Underdress: Rendering

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Appendix C: Final Renderings and Performance Appearance

Desdemona Underdress: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Othello: Rendering

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Appendix C: Final Renderings and Performance Appearance

Othello: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Cassio: Rendering

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Appendix C: Final Renderings and Performance Appearance

Cassio: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Roderigo: Rendering

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Appendix C: Final Renderings and Performance Appearance

Roderigo: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Iago: Rendering

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Appendix C: Final Renderings and Performance Appearance

Othello: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Emilia: Rendering

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Appendix C: Final Renderings and Performance Appearance

Emilia: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Bianca: Rendering

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Appendix C: Final Renderings and Performance Appearance

Bianca: Performance Appearance

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Appendix C: Final Renderings and Performance Appearance

Brabantio: Rendering

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Appendix C: Final Renderings and Performance Appearance

Brabantio: Performance Appearance

Jay 64
Appendix D: Other Production Photos

Jay 65
Jay 66
Jay 67
 Costume Plot pg. 1
Actor Character Act I, Sc. I Act I, Sc. II Act I, Sc. III Act II, Sc. I Act II, Sc. II Act II, Sc. III
Marshall Anderson Othello First Look Same Same Second Look
BAMF coat BAMF Coat
Military Coat w/ snakes NO military, just A‐shirt
Will Holt Iago First Look Same Same Same Same
All garments, including
Overcoat w/ collar
Allison Lawrence Desdemona First Look Same Second Look
Silk/Velvet Overcoat Underdress and shawl
Katie Lyman Emilia First Look
Purple Satin Overcoat
Tim Hamlin Cassio First Look Same Same Same
Military "Eisenhower" Jacket No jacket during fight
Blue Lieutenant Sash
Tori Gaines Bianca
Alex Cromidas Roderigo First Look Same Same Same Same
Tan Wool Suit
Somaiah Kombiranda Duke/Lodovico First Look: Duke
Senate robe, velvet hat
James Shickich Brabantio/Montano First Look: Brabantio Same Same Second Look Same
Dressing gown Except: NO dressing gown PLUS: Senate Robe Montano
Beard, cane, glasses Velvet Hat Military Jacket
Evan Friedenberg Sailor/Herald First Look Same Same
All garments, including
Green military jacket
Graham Bishop Military/Senate 1 First Look Second Look Same Same
All garments, including: Military Jacket
Senate robe, velvet hat
Bryan Brown Military/Senate 2 First Look Second Look Same Same
All garments, including Military Jacket
Senate robe, velvet hat
 Costume Plot pg. 2
Actor Act III, Sc. I Act III, Sc. II Act III, Sc. III Act III, Sc. IV Act IV, Sc. I Act IV, Sc. II Act IV, Sc. III Act V, Sc. I Act V, Sc. II
Marshall Third Look Same Same Fourth Look Same Same Fifth Look Sixth Look
No BAMF coat No military jacket, No blue button‐down NO shirt
Military jacket Blue button‐down Just grey A‐shirt
Will Second Look Same Same Same Same Same Same Same
No overcoat Plus: Lieutenant sash
Allison Third Look Same Same Same Fourth Look Same Fifth Look
Red lace Grey Lace Pleated Underdress
Katie Same Same Same Same Same Same Second Look Same
Grey underdress
Tim Same Same Same Same Same Same
No Lieutenant sash No jacket during fight Bloody Bandage, Crutch
Facial Bruising
Tori Blue draped dress Same Same
Plus: blue shawl
Alex Same Same Same
Somaiah 2nd Look: Lodovico Same Same
Military Jacket
James Same Same
Plus: knee bandage
Evan Same Same
Graham Same Same
Bryan Same Same
Appendix F: Budget

Cost Category Date and Company

$165.00 Pleating Park Pleating (2/17)
$58.00 Fabric Fiesta Fabric (2/17)
$138.11 Accessories Athenian Fashions (2/17)
$137.00 Fabric Michael Levine (2/13)
$60.00 Fabric Michael Levine (2/6)
$39.95 Fabric Fred’s Fabric Inc. (2/17)
$53.00 Trim Target Trim (2/13)
$8.68 Fabric No name (2/13)
$51.55 Fabric AZI Payless (2/13)
$26.10 Accessories Athenian Fashions (2/13)
$10.00 Fabric Sylvia’s Fabrics (2/8)
$79.64 Fabric No name (2/8)
$61.46 Fabric J&S Fabrics (2/8)
$8.70 Fabric Fiesta Fabrics (2/6)
$247.00 Fabric Fiesta Fabrics (2/6)
$17.54 Fabric Wall Fabric (2/8)
$99.51 Fabric No name (2/8)
$27.61 Fabric Golden Cutting and Sewing Supplies (2/8)
$158.71 Fabric Journal Fabric Inc. (2/8)
$44.50 Accessories (Buttons) (2/13)
$19.50 Fabric No name (2/17)
$206.00 Die Fabrication Die Fabrication and shipping
$37.30 Senate Robe Senator Robe
$29.00 Miltary Jacket Military Surplus Jacket
$9.77 Fabric Jo‐Ann's
$18.31 Tailoring Supplies Bblack and Sons
$48.97 Facial Hair Act One (4/2)
$13.70 Fabric Michael Levine's (3/9)
$20.00 Fabric LA $0.99 Fabric Store (3/9)
$42.40 Trim Imperial Trimming (3/9)
$9.50 Trim Trim 2000 (3/9)
$19.25 Fabric No name (3/9)
$10.00 Fabric Angel Textiles (3/9)
$30.00 Undergarments Lucky Lingerie Plus Inc. (3/9)
$150.00 Fabric Wall Fabric Inc (3/9)
$56.55 Fabric Sina Fashion Inc. (3/9)
$40.00 Shoes Women's Shoes
$20.00 Shoes Women's Shoes
Grant Total
$2,272.31
Appendix G: The David Ken Schoell Memorial Award

Awarded: $1800

Expenses:
Riding Boots ‐ Ridersmall.com $199.99
Riding Boots ‐ Tigerdive $199.99
Riding Boots ‐ Horseloverz $362
Riding Boots ‐ Fourwinds $239.95
Riding Boots ‐ Fourwinds $238
Professional Tailoring – $500
Desdemona’s Jacket

Grand Total $1,739.93

Works Cited

Bolton, A. (2011). Alexander McQueen: Savage Beauty. New Haven, Connecticut: Yale University Press.

Hawksley, L. (1999). Essential Pre‐Raphaelites. London: Dempsey Parr.

Isherwood, C. (2009 24‐February). Love Curdled Through a Malevolent Scheme. Retrieved 2011 24‐
October from The New York Times:
<http://theater.nytimes.com/2009/02/24/theater/reviews/24othe.html?pagewanted=all>

Kolin, P. C. (2002). Othello ‐ New Critical Essays. London: Routledge Press.

Othello ‐ No Fear Shakespeare. (2003). New York: Spark Publishing.

Pechter, E. (2004). Othello: Authoritative Text, Sources and Contexts, and Criticism. London: W. W.
Norton & Company.

Rosenberg, M. (1961). The Masks of Othello. Los Angeles: University of California Press.

Production photos used with permission of production photographer, Dani Roach, © 2012

All rough sketches and final renderings property of the artist, © 2012 Corey M. Jay.

Jay 72