Darryl Maximilian Robinson Provides Notes On His 1984 Performance As 'Othello' At Chicago's Northeastern Illinois University

"It is hard to do well to a masterpiece, and the StagePlayers' production of "Othello" was a success. The acting in the major roles, with the professional actor Darryl Robinson heading the cast as Othello, was what has become the rule in the F-Wing." -- Dave Guyett, "View Two: Let's see Iago's wrath," The Print of Northeastern Illinois University, Chicago, Centerstage, Pages 10-11, April 3, 1984.

One of the most rewarding Shakespearean roles Mr. Robinson had the priviledge of playing was the title role of Othello, The Moor of Venice in a March 1984 revival with The Stageplayers of Northeastern Illinois University of Chicago that was effectively and handsomely directed by Dr. James Barushok, a long-time professor of theatre at the F-Wing of UNI. A technical highlight of that production was talented Set Designer Silvano Burgoni's white-columned, revolving set. And the sight of future West Coast stand-up comedian Anthony Griffin as the worthy Montano IN TIGHTS?...PRICELESS!

Later in life, the production would become even more memorable due to the fact that this would prove to be the one and only occasion Darryl Maximilian Robinson would appear as The Moor of Venice in a fully-mounted revival of Shakespeare's great work.

Your humble servant in The Theatre, Darryl Maximilian Robinson ( a 1997 Chicago Joseph Jefferson Citation Outstanding Actor In A Principal Role In A Play Award Winner for his performance as Sam Semela in The Excaliber Shakespeare Company of Chicago revival staging of Athol Fugard's "Master Harold And The Boys" and a Four-Time Chicago Black Theatre Alliance / Ira Aldridge Award Nominee ), is therefore pleased to share a pair of local, university campus newspaper theatre reviews of a production of William Shakespeare's "Othello" in which he served as a Guest Professional Actor portraying the title role...in 1984.

These comments are from an Archived Edition dated April 3, 1984 of The Print of Northeastern Illinois University, Chicago, Centerstage, Pages 10-11, 'Othello' Reviews: StagePlayers' 'Othello' opens to mixed reviews, all good; Two views of StagePlayers' latest Shakespearian offering; to UNI, with love

View one: 'Othello' succeeds by Adriane Saylor, Chief Reporter

StagePlayers' "Othello," ran March 22-24, and March 27-31. The production, directed by James Barushok, was the high point of the class, Theatre Practicum, which was responsible - as a class project - for putting together this production, which seemed at one point an exercis e in endurance and stamina by both instructor and remaining class.

It was indeed heartening to see that all of those little stitches did indeed come together as magnificent costumes which sparkled and glittered, and flowed like angel silk.

Even though there were some obvious flaws -Cassio's rather street-of-Chicago accent and his underplaying the role, as well as the messenger who said the lines to the senators as if he were doing a commercial for Wendy's-there were some golden moments, as well. These moments were what put the production over.

Shakespeare is hard to do, by any standards, and "Othello" is probably one of the hardest pieces to do. The editing of the play, as done by Barushok, only helped, and gave a sense of continuity and uniform pacing to the production. We're certain it helped the acting, too.

The acting - ah, the acting. We became involved to the point at which, at the play's conclusion, when Othello is unravelling the devious web created by a most sinister Iago, and Emilia is sobbing so convincingly, we almost cried ourself. That's good acting! We forgot that we were watching live acting done by people who were classmates and friends.

The set itself, done by Silvano Brugioni and a cast of few, was sterling stuff, and gave the whole production a base on which to pivot, and from which to give those meaty soliloquies.

All taken, the production, including the elegant bows by the cast, and the fluid motion with which the actors arrived and left the stage, was something wonderful to behold.

View two: Let's see Iago's wrath by Dave Guyett

It is hard to do well to a masterpiece, and the StagePlayers' production of "Othello" was a success. The acting in the major roles, with the professional actor Darryl Robinson heading the cast as Othello, was what has become the rule in the F-Wing.

Interpretatlon, particularly the simplification of the Iago character, was another matter.

One fault of the production was the obscuring of Iago's motive. We are blatantly told by Iago that he hates Othello, but we never really see that it is his jealousy of Othello's good nature and his love for Desdemona that spur him. Since he cannot be as honest as Othello, or even the less heroic Cassio, Iago aims to either change them into persons more like himself, or to ruin them.

Like other Shakespearian adversaries ( the lustful fool who wrongly sees Hamlet as being driven by carnal desire ). Iago transmits his ill traits, and will not be content until Othello and the others are pitted in jealousy and distrust.

The projection of self and of will are key elements in "Othello," and these traits were played down. Iago's motive should have been emphasized more strongly. Otherwise, it will appear that Iago's action is borne out of sheer meanness, which it did appear in this particular production.

Actor Sammy Munoz had the crucial conniving aspect of the Iago character down, but the subtle dimension of showing his love for Desdemona was either lost on him or the director, Barushok.

Another oversight in direction, which slightly hampered the production, was the wide and interesting array of accents which abounded in degree and tone all night. Willard Green's idea of speaking in his own voice was a good idea, which should have been contagious. The sometimes silly-sounding accents, however, seldom distracted from the fine acting.

Note: In March of 1984, your humble servant in The Theatre, Darryl Maximilian Robinson, was thrilled and honored to play the title role of William Shakespeare's "Othello" opposite the talented Sammy Munoz as Iago and under the fine direction of Dr. James Barushok at The F-Wing Theatre of The Stage Center of Northeastern Illinois University in Chicago. It was a fine revival of the The Bard's text.

The Founder, Artistic Director and Producer of both the multiracial chamber theatres, The Excaliber Shakespeare Company of Chicago and The Excaliber Shakespeare Company Los Angeles Archival Project, Darryl Maximilian Robinson has become noted as the very first black actor in American Theatre History to portray on stage a trio of classic dramatic roles including: Sir Thomas More in Robert Bolt's "A Man For All Seasons" ( in a 1984 revival presented by The University Players of The University of Missouri-St. Louis and directed by AEA Member John Grassilli at The Benton Hall Theater ); King Henry II in a 1992 multiracial cast revival of James Goldman's "The Lion In Winter" ( directed by Mr. Robinson for his chamber theatre Excaliber Productions, Ltd in St. Louis and staged at The Wabash Triangle Cafe ); and Andrew Wyke ( opposite the talented actor Sean Nix as Milo Tindle ) in a 2000, 30th Anniversary, all-black cast revival of Anthony Shaffer's "Sleuth" presented under Mr. Robinson's direction by his chamber theatre The Excaliber Shakespeare Company of Chicago at The Harrison Street Galleries Studio Theatre of Oak Park, Illinois. A nearly 50-year veteran of the stage, most recently, Darryl Maximilian Robinson was named a winner of a 2022 Making The World Happening Award for his numerous online theatre-related offerings at Allevents.in during the early years of the Covid-19 pandemic.