ABT 2026: Othello
Fangqi Li and Calvin Royal III in Othello: A Dance in Three Acts. Photo: Steven Pisano.
March 6, 2026, saw American Ballet Theatre return to David Koch Hall to open their Spring Season with ‘Othello.’ Lar Lubovitch’s adaptation of the Shakespearian tragedy was delivered with utter brilliance from the dancers and orchestra, led by conductor Ormsby Wilkins, making for a splendid evening of dance.
The neoclassical choreography was captivating to watch, with great demands due to the number of lifts, dives, tosses, and other captivating instances, but all these moments were handled expertly by the dancers. There was also an abundance of gesture and looser movement that achieved much in relating all the drama and intention from the characters. From simpler, conversatory moments to psychological breakdowns, one felt a fine sense of where the dancers were in relation to themselves and the story, remaining cohesive throughout the performance.
In the title role, Calvin Royal III triumphed as the ill-fated general. His opening prayer carried with flexibility down to his shoulder cuffs as he swayed and gestured to weave a ritual-like passage, and setting a psychological tone which pervades this work. His moments with Desdemona not long after made for a truly beautiful showcase as Royal and Li brought the most out of the romantic moment between the two with gorgeous partnering.
With Whiteside’s Iago, Royal demonstrated tremendous support as the choreography saw stunning instances where Whiteside perched himself to stand on Royal’s thigh and shoulder, or when the former draped himself around Royal’s shoulders to be lifted as Othello rose in anguished thought. Moments like this and so much more made Royal’s performance one that has to be seen to be believed as he explored the psyche of Othello to heartbreaking completion.
As Desdemona, Fangqi Li was supremely elegant in movement and articulate in gesture, fully embodying the tragic beauty of the role. From her floating entrance in the first act, Li demonstrated much grace and control, allowing her to soar as she is lifted through all manner of rising turns, descending spins, caught dives and more. Her sense of intention achieved much when Desdemona is first presented with the handkerchief, as Li tenderly held it against her neck in the middle of her joyous combinations, it made for a stunning foreshadowing of later events while feeling highly natural in the moment.
Li’s time in the third act carried hauntingly as she took the sleeping aide against the tones of the glass harmonicas, leading to an increasingly dreamy-state of mind as she turned and leapt across the stage before Othello’s entrance. This final dance between the two was intoxicating as their respective fears, suspicions, and so much more constantly shifted the dynamic of their choreography until the very end.
Calvin Royal III and James Whiteside in Othello: A Dance in Three Acts. Photo: Steven Pisano.
In the role of Iago, James Whiteside balanced villainy with incredible artistry, making for an undoubtedly devilish figure. His demeanor and skulking nature often tinged the last moments of his scenes dramatically, and Whiteside proved more than able to adapt to the various styles of movement as he changed to suit Iago’s purpose. His dances with Emilia ranged from expressive and romantic to overbearing and abusive, speaking much to their complicated relationship. Most compelling of all were his moments alone with Othello, where the manipulation unfolded through increasingly-fervent combinations; Whiteside flowed between acting as Royal’s shadow, his reflection, or the figure currently in his mind as the former recreated scenes from Othello’s memory to match the backdrop projections. The result was as effective as it was unsettling, and truly some of the high points of the evening.
In the role of Emilia, Madison Brown was thoroughly captivating. Her concern as she watched her husband’s plot unfold saw her employ great expressivity as well as splendid athleticism in her choreography, creating much sympathy as her character is either rebuffed or forcibly drawn into helping Iago. Her dance with Whiteside early in the first act carried with a great intensity, her affection paired with his hostility made for a tantalizing contrast in energy.
As Cassio, Jake Roxander excelled across his character’s arc from trusted lieutenant to victim of jealousy. His entrance during the celebration saw him employ charming turns and powerful spins after joining the commedia dancers, before shifting to a more cordial affection as he partnered with Desdemona. These qualities were explored further during the second act, from a nice trio of circling measures as Cassio, Emilia, and Desdemona tensely await the returning Othello and Iago by ship, to the extended festivities as Cassio is gradually framed by Iago. There were some truly eye-catching moments as Roxander caught Granlund after being tossed by Whiteside, or handed off mid-lift as Iago further pairs Cassio with Bianca as he readies his trap. Roxander’s time in the court scene of the third act featured great anguish as he was kicked, accused, and finally executed.
Breanne Granlund was a source of much delight in the role of Bianca. Her energy carried well across her dance with the corps on the ship, balancing an upbeat charm with a touch of the sultry whimsy suggested by the lower brass to create a charged and exotic feeling. Granlund’s sense of exuberance helped emphasize Bianca’s innocence as she is taken up in dance by Iago, given the handkerchief, and then handed off to Cassio, being an unknowing part in the ensign’s plot. Her athletic and artistic talents saw her in excellent form whether it was solo measures, heading up the corps, or the acrobatics of her trio with Whiteside and Roxander.
The corps de ballet also added much during their time onstage. The festivities of the first act intimated a number of well-controlled figures which related the courtly feel of the setting, whereas the dance on the ship carried with a free, almost frenzied passion as the corps flowed in and out between the moments which progressed the plot. While this work does not have much in the way of divertissements, there was still a charming instance to be found in the commedia dancers in the first act, whose lighthearted bends and turns lent a nice touch of levity before the gravity of the plot began to set in earnest.
The staging manages an authentic feel to the setting of the story thanks to the costumes and scenery by Ann Hould-Ward and George Tsypin. There are also nice, modern touches in the fractured, glass throne seen prominently in the first and third acts, and the glass furniture of Othello’s chamber to further emphasize a sense of fragility. Some moments also featured projections of characters to more concretely depict their place in Othello’s mind, the result is a production which balances traditional and contemporary choices while effectively remaining grounded in its narrative.
Between the beautiful staging, Goldenthal’s passionate and psychological score, and the sheer brilliance of the dancers, Friday’s opening night had everything one could ask for, and was made all the more special when Artistic Director Susan Jaffe announced the proclamation by Mayor Mamdani naming March 6th as American Ballet Theatre Day in recognition of the company’s longstanding accomplishment in the arts. Lovers of dance will not want to miss the rest of ABT’s Spring Season, featuring exciting works such as Balanchine’s ‘Mozartiana,’ Ratmansky’s ‘Firebird,’ and more.
-Logan Martell