“How easily the worlds we build together can be sustained, or quietly undone,” says director Anthony Almedia in the programme notes to his new production of Othello.
This new co-production between HOME, Northern Stage, the Citizens Theatre, and in association with Royal & Derngate is the director’s first Shakespeare play, and he draws us into each character with an intimate eye.
The result is an overwhelming feeling of claustrophobia and paranoia that eventually become the undoing of Othello. Setting the action in an isolated military outpost during the 1980s Falklands War adds to the pressure cooker feel of uncertainty and simmering violence. It adds an element of modern day to this 400-year-old drama and with it a brutal realism of ongoing social battles with racism, class and misogyny. We recognise soldiers under stress of battle, the testosterone-fuelled environment, the harsh authority of rank and the need to let off steam in Cassio’s drunken scene as squaddies party to crowd-pleaser Dexys Midnight Runners’ ‘Come on Eileen’. Knowingly, Almedia notes: “Othello is full of war, politics and public life. Yet the real damage happens between people who love one another”.
When we first meet Othello (Dwane Walcott) he is sharp and assured in the face of military and personal conflict. The love between him and Desdemona (Phoebe Smyth) feels genuine and joyous, as well as a source of strength for them both.
Maanuv Thiara’s Iago unravels their bond with terrifying ease, as if playing a game. Thiara plays ‘honest Iago’ as the conman hiding in plain sight. He is no pantomime villain, but a snake oil salesman who draws people in despite their better judgement. He is the psychopath whose carefree smile keeps us fascinated in this psychological thriller. It is an engrossing performance.
Natasha Jenkin’s sparse set of caged metal and barbed wire amplifies the cold darkness of the unfolding events. This is layered, to mixed effect, by Erin Guan’s video projections which see Roderigo (Matthiew Sys) filming and magnifying parts of the action on screens behind and overhead. This works well for Cassio’s fight scene but feels distracting in others. The menacing bass soundscape from Matthew Tuckey, also feels an unnecessy addition, being both distracting and uncomfortable in its vibration if you’re sitting close to the speakers.
The cast is excellent all round. However, there are two confident stage debuts that warrant special mention. Smyth brings spark and wit to Desdemona that makes us feel for her as more than a mere pawn caught up in man’s power struggle. Will Stanton as Cassio is reminiscent of watching a young Andrew Garfield. His is an assured performance delivered with exceptional clarity.
As with all Shakespearian tragedies we know we are being led to a bloody end, and Almedia delivers this with unwavering violence that is rightly shocking.
Othello is at Home Manchester from 30 September to 10 October 2026 before continuing on tour.