In Othello, playing at Boston Court, Wolpe takes a turn as Iago. It’s difficult to pay attention to Iago’s initial dialogue, as your brain is taking a moment to process how perfectly Wolpe creates a male character. It’s the same feeling you get when you first hear a British performer flawlessly pull off an American accent – you just marvel at the fact they’re actually doing it, before you can take it for granted and watch the story… It isn’t about a swagger or a lowering of voice. Just watching the way Iago sits and holds his cigarette tells you not only that he’s a man, but a man of a certain class (not that high), a man of a certain attitude (that the world should give him what he believes is his due), and a man of thoughtfulness. Wolpe approaches Iago with a level of understanding – if not actual sympathy – for the villain, creating a character who is conniving, but also delightfully human. Her Iago knows he’s never going to be a dominating physical presence, so he smoothly talks other people into thinking that what he wants is in their best interest. And when Othello promotes Cassio over Iago, Iago feels unjustly betrayed, and thinks that revenge is his right. Wolpe’s Iago is complex, but her interpretation is never confused. It’s a splendid performance, well-served by Wolpe’s own direction.