Customer Reviews

O.T., A Musical Retelling of Othello in Modern Times

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Mirta de la Torre Mulhare, who wrote the music, lyrics, and book for O.T., began writing at age 6, work ranging from commercial jingles to orchestral works, musical reviews, and opera. But is she up to par with Amadeus?

Yes and no....

What I found to be a major flaw of O.T. was that it was hard to follow unless you were familiar with Shakespeare's Othello, which this is based on. However, it doesn't deter from the fact that the music is wildly passionate, much like Mozart's can be. Mulhare also goes with Shakespeare's multicultural theme by combining many different elements of music, ranging from bluesy ballads to jazzy honky-tonk numbers. A lot of the soundtrack reminds me a lot of Urinetown and Cradle Will Rock, actually. I was a little disturbed, however, to see that there was some switching done. Owen Theodore Hulligan, (O.T.), is an Irish-American while Mona, Desdemona's alter ego, is the minority reporter. It seems to be a bit masochist, if you ask me. Especially for a female composer.

Yet none of this takes away the fact this is an incredibly powerful musical and a great addition to the theatre scene.

If I had to describe this recording of O.T. in one word, it would be "unbalanced." As to the music itself, the composition tows the line between wonderfully dramatic and cliché. I loved some of the more original songs while others seemed to quote pieces from shows I'd heard before, with several reminding me of G&S themes. These constant comparisons hindered my enjoyment of the score.
The script, and the actors reading thereof, can be chilling and intense or laughably hammy. In particular, I refer to the introduction where T.J. Cannady's rendition at times pushes all the right buttons of ominous foreboding...and then slips into cartoonish melodrama. I have nothing but praise for the male cast members. I think they performed well and whatever criticisms I may have for them are confined to matters of personal taste.
The female singers on the other hand were the typical dime-a-dozen sopranos you would hear at any other college recital: small voiced, technically proficient, yet artistically malnourished, and ultimately boring. J. Boales shrill singing in particular had a habit of making me cringe on certain notes. The one highlight of the female cast in my opinion was Robyn Stevens-Woodle. I searched for this CD after having the distinct pleasure of hearing her live in concert in 2007 singing with the Florence Symphony in Handel's Messiah. Dr. Stevens' full, rich voice, while not well represented here in the role of Mona, still delivers passion and beauty of tone. I'd love to hear this rerecorded with Dr. Stevens and a cast that matches her both in technique and artistry. And it must be stated that the poor quality of the recording really doesn't help anyone.
Over all, while O.T. offers a unique twist on its Shakespearean origin, it is musically cliché. And while this show definitely has it high moments, it doesn't reveal any themes or emotions which haven't been better and more profoundly expressed in other operas, so don't expect Verdi, Wagner or even Andrew Lloyd Weber there. Still, it's a unique contribution to music theater and worthy of a listen.

"Othello" is my favorite Shakespeare play. The themes of jealousy, betrayal, and obsessive love are still relevant today. Composer and lyricist Mirta de la Torre Mulhare has managed to capture the Bard's theme's in a vibrant new telling.
Owin Theodore Hulligan, (O.T.), is an Irish American senator running for governor. His "friend," John, (Iago), is O.T.'s staunch supporter, that is until O.T. chooses Charlie Thompson, (Cassio), as his running mate for lieutenant governor. John's psychopathic and selfish ambitions drive him to vow revenge. His true nature is revealed in the chilling "My Chance Will Come." The story follows Shakespeare's plot fairly well, although the modern setting of course alters the storyline. O.T. falls in love with Mona Perez, (Desdemona), a minority reporter. John will use his manipulative powers to seduce O.T. into believing that Mona is having an affair with Charlie. I do wonder why John and O.T. do not have a duet. So much of this play hinges on John's pretended friendship, and a chemistry between O.T. and John should be evident.
Although this recording is not of the highest quality, most of the cast members excellently portray their roles. T.J. Cannady portrays the malevolent John with a malicious enjoyment. Phillip Bender will bring you to tears as the tormented O.T. His rendition of "Jealousy will move you to tears. My only complaint is Robyn Stevens-Woodle who portrays Mona. Her voice is uneven in places which is distracting. However, she seems to get better as the CD progresses.
Not only is the cast good, but the songs are true gems. O.T. is not all tragic. There are some hilarious numbers, my personal favorite is "Living In a Fishbowl," which deals with the irritating interference of the press. All in all, this CD, although not the complete recording of the work, should convey the full gamut of emotions expressed by the characters. Mulhare presents a tapestry of beautifully woven music that explores some frightening themes.

First of all, be aware that this is a college production and consequently suffers from the usual limitations of resources and expertise in the recording. The balances between accompaniment and vocalists vary greatly and are particularly bad during choruses. I somehow visualise the engineer with one microphone mistakenly thinking that since the choristers outnumber the pianist they will naturally be louder so the amplification is practically in the piano whilst the chorus is barely heard. There is a similar problem with the balances between vocalists but not to the same extent. The next problem is that the accompaniment continually bangs away at the melody as if the vocalists aren't clever enough to perform with just "accompaniment". This is particularly annoying and, sadly, leaves the characters with little latitude for personal expression.
The music is charming, passionate and even enchanting if a bit dated. It is a fairly traditional operetta in style and is not, as one might infer from the title, ultra modern. If you are a traditionalist and dislike the tendency toward pop and rock interpretations, this is for you. The modernity is in the setting and somewhat in the language, which leads me to the other missed opportunity, or the sledgehammer approach of the lyricist. The 'passion' comes off a bit more like immature ranting in places. "Less is more" is an antithesis rather than a theme in this production. Still many of the vocalists are very good and the composer shows real promise - just not particularly a promise fulfilled on this occasion.