Othello | July 20 – August 19

by William Shakespeare
directed by Catherine Weidner

sponsored by DR Struck Logo and  mainepublic

Newly married and promoted, Othello finds himself the pawn in the manipulative games of his right-hand man, Iago. As his imagination is poisoned, Othello turns on his new bride Desdemona and loyal lieutenant Cassio, rapidly spiraling from hero to murderer in Shakespeare’s tale of jealousy, duplicity, and destruction.

Thursday, July 20, 7:30 p.m. (Preview)
Friday, July 21, 7:30 p.m. (Opening with Pre-Show Classics in Context Discussion)
Saturday, July 22, 1:00 p.m.
Sunday, July 30, 1:00 p.m.
Wednesday, August 2, 7:30 p.m.
Sunday, August 6, 7:00 p.m. (Post-Show Discussion)
Wednesday, August 9, 1:00 p.m.
Tuesday, August 15, 7:30 p.m.
Saturday, August 19, 1:00 p.m.


Production Team

Catherine Weidner

Dan Bilodeau
Set Designer
Kathleen Payton Brown
Costume Designer
Matthew Adelson***
Lighting Designer

Rew Tippin
Sound Designer

Leighton Samuels
Fight Director
Melissa Nathan*
Stage Manager
Ingrid Pierson*
Stage Manager

Katie Moshier
Stage Manager

Cast (In order of appearance)

Ryan Vincent Anderson*

Josh Carpenter*

 Mark S. Cartier*
 Kelsey Burke
Wardell Julius Clark
 James Noel Hoban*
Duke of Venice

Brad Wilson

 Travis Johnson
Maggie Thompson

Lucy Lavely*

J.P. Guimont*
Mackenzie Shaw
Emery Lawrence

Ben Shaw

CJ Stewart


*Member of Actor’s Equity Association, the union of professional actors and stage managers in the United States.



*** Member of United Scenic Artists, the union of professional theatrical designers in the United States


From the Director

The whole world is in this play Othello; considered Shakespeare’s domestic tragedy, as it doesn’t deal in the realm of kings and queens. This is a story of assumptions, misread signals, reputation, honor, and betrayal; a story of marriage, friendship, and loyalty.

The play begins in Venice, and travels to Cyprus. Shakespeare often used the lens of a foreign country to examine how we respond when encountering something different than ourselves. Before the play begins, Brabantio has welcomed Othello into his home, hosted him for elaborate dinners at which the Moor (a Muslim who has converted to Christianity) shared his tales of valor without realizing the romantic effect it has on Desdemona. The Guess Who’s Coming to Dinner contradictions emerge once Othello and Desdemona elope, and when the Duke of Venice is called on to judge, he expounds on the content of Othello’s character, not the color of his skin.

Underlying every theme and subplot in this play is the need for control—to manipulate what we see; to be what we believe. Othello, Roderigo, and Bianca all fall victim to “ocular proof,” and pay a high price for the choices they make. Iago, Emilia, Cassio, and Desdemona are driven by wanting to claim their power and independence, though their strategies range from the Machiavellian to the naïve.

We are, gratefully, living in a time when inclusion and race are at the forefront of our artistic decisions, be they season selection or casting choices, and this production asks questions of the play, and makes demands on the artists who create it. Shakespeare’s story leaves us thinking hard about assimilation, status, gender, and race in profound human ways. Like any good play, it doesn’t provide easy answers.