(4T, 229).
The year 1660 brought with it the Restoration, not only of the throne but also of the theater. Othello was immediately performed, with a surprising change: a female actress was now in the role of Desdemona, for the first time. Prior to this, only boy actors had taken the stage, in male and female roles. Although the introduction of a woman actor had mixed reactions, from then on a woman was to play the role.
In October 1660 writer Samuel Pepys saw Othello performed and had this to say about the play: "1660, October 11. - To the Cockpitt to see "The Moore of Venice", which was well done. Burt acted the Moore; by the same taken, a very pretty lady that sat by me, called out, to see Desdemona smothered." Pepys saw the play again nine years later, this time with a different opinion: "1669, February 6. - To the King's playhouse, and there in an upper box did see "The Moore of Venice": but ill-acted in most parts; Moghun, which did a little surprise me, not acting Iago's part by much so well as Clun used to do: nor another, Hart's which was Cassio's; nor indeed, Burt doing the Moor's so well as I once thought he did." This is just one example of how the focus of the play was on the primary actors, and how many of the earlier mentions of the play focuses only on their role in the staging. ( Brooke and Mason, 177).
During the 1700s Othello was recorded as being staged in all but nine years of the century. Many notable stage actors of the day performed as Othello, and one of the most striking was Thomas Betterton, who held the role from 1684 to 1709. He was much praised in the role, and Colley Cibler was quoted as saying, "Betterton was an actor as Shakespeare was an author, both without competitors, formed for the mutual assistance and illustration for each other's genius." (Brooke and Mason, 179) Betterton believed that it was his job to not focus on the violence and rage Othello must feel, but instead to make the audience see his thoughtful and tender side.
