Review: OTHELLO, HOME Manchester - Tour
Photo credit: Marc Brenner
Othello is hailed as one of Shakespeare’s greatest tragedies as it tells the tale of manipulation, jealousy and paranoia. This time performed by Northern Stage, it is not quite as we know it. Set against the backdrop of the Falklands War in the 1980s, director Anthony Almeida modernises the set whilst maintaining the force of the original narrative. Brought to HOME Manchester during its northern tour, this retelling of Othello is captivating, shocking and a reminder of how little humans and attitudes can change across hundreds of years.
Set to a triumphant 1980s soundscape juxtaposed with the sirens and blaring of war, Othello is a tense, pulsing masterpiece. Playing the titular role, Dwayne Walcott is serious and stern whilst Phoebe Smyth plays a whimsical but fierce Desdemona. Coming together in their hidden marriage, the two set in motion a series of events to unravel all close to them at the ire of snubbed soldier Iago. Calculating and enigmatic, Maanuv Thiara’s Iago commands the stage whether he is scheming, imploring of his honesty, or deceiving each of his fellow soldiers in turn.
As Iago becomes infuriated at Lieutenant Cassio’s (Will Stanton) promotion over him by Othello, he begins to warp reality and convince Othello that Desdemona is unfaithful. Described as ‘Moorish’, at the time encapsulating an outsider, whether it is their ethnic background or a religion outside of Christianity, Othello, a black man, is set apart by his race despite being the military general in charge. His marriage to the nobly born white Desdemona causes friction with her father and allows Iago to exploit this insecurity to begin his coercion of Othello.
Othello’s descent into paranoia is less nuanced than it could have been, appearing suddenly, in comparison to Iago’s deft flitting between loyalties and control of the story. The same themes Shakespeare draws on feel just as relevant today with jealousy, racism and power taking centre stage 400 years on.
Set primarily on a military base, the stage design is stark and uncompromising in its cold monochromatic lighting and feeling of entrapment. Chicken wire fence adorns a grey central platform, allowing characters to be present in the background of scenes layering the performance and emphasising deception. Footage of the Falklands war and surrounding news stories is broadcast onto a television and Matthieu Sys (as Roderigo) makes interesting use of filming and projection live in the show to heighten the atmosphere. Slightly confusing are the references to Cyprus and Venice in the text, which are half explained in relevance to the ‘80s but feel amiss and unnecessarily convoluted if the story was to be set in more modern times.
Northern Stage’s production of Othello is a powerful take on a Shakespearean classic. The dynamic show with a haunting soundscape and striking set blends into a gripping performance that is well worth a watch.
**** Four stars
Reviewed by: Hannah Goldswain
Othello plays at HOME Manchester until 10 Oct before continuing its tour, with further info here.