Abt othello george tsypin olympics video

Othello , as Lar Lubovitch tells it in his evening-length work for American Ballet Theatre, is a tale that resonates powerfully in the modern world, with its themes of jealousy, intrigue, and the plight of the outsider. Harrington, and lighting designer Pat Collins. Yet this production is sabotaged at every turn by the wreckage of a score that oscillates between two genres of sound: the soundtrack to a car chase scene, and the eerie drone from an M.

Night Shyamalan movie. An occasional sultry clarinet wanders in from time to time, searching in vain for a seedy nightclub.

George Tsypin is known for his design work for opera, the Broadway musical Spiderman, and the opening ceremony of the Sochi Olympics.

Many such images of terrible beauty and perverted power, and several exquisite pas de deux would have transfixed the audience, had it not already been paralyzed by the anxiety-producing score. There is not a lot of demanding technique to this role, as Desdemona is mostly whipped and whirled around, first by Cassio Joseph Gorak , then by Othello in moods that range from tender to impassioned and, finally, murderous.

But Kent radiates beauty with even the simplest lifting of an arm. She acts up a storm alongside Gomes, and the twin tragic arc of their characters anchors the entire work. Whiteside is turning out to be one of the most versatile men of the company, dispatching the princely roles, as well as the scoundrels. Here, he gives Iago both a campy swagger and a truly terrifying malevolence.

Yet the panther-like quality to his jumps and his beautifully articulated feet are much to be admired; we simply cannot get too much of Gorak. A bristling tambourine announces the arrival of Copeland who, program notes inform us, is meant to deliver a deadly tarantella.

Othello A Dance in Three Acts Choreography by Lar Lubovitch Music by Elliot B. Goldenthal Scenic Design by George Tsypin Costumes by Ann Hould-Ward Lighting by Pat Collins .

Someone forgot to tell the composer — instead he orchestrates another one of his car chases. Copeland lights a fire onstage anyway, whipping the company into a sexual frenzy and finishing with a bravura whirlwind of turns that induced gasps from the audience on Tuesday night. They seek solace in a small glass cross that resembles the hilt of a sword, foreshadowing the violent deaths of Desdemona and Othello.