Northern Stage’s Othello shifts Shakespeare’s play from 16th century Venice to the Falklands War in the 1980s, a bold move that mostly works. Soldiers march in camouflage fatigues and orders are received on period landlines, but the dialogue still references Cyprus and Venetia, an inconsistency that occasionally punctures the illusion.
The story starts in a concrete and barbed wire laden London, complete with booming dictats from an unseen Duke, which adds to the stylistic confusion and makes the production feel more like Orwell’s 1984 than Thatcher’s 1982.
The set comes into its own when the action shifts abroad however, its utilitarian space morphing from open stage to raised battleground to, in the final scenes, a literal cage that mirrors Othello’s tightening paranoia and ratchets up the claustrophobia of a marriage spiralling into tragedy.
Dwane Walcott cuts an imposing figure as muscular and menacing Othello, in full command of the stage and his army. However his descent from an adoring husband to one consumed by jealousy and rage feels slightly rushed. He’s convincing as both extremes, but the switch is jarringly sudden.
Similarly Maanuv Thiara’s Iago doesn’t quite hit the mark. He seemingly orchestrates and revels in everyone’s ruin and despair for amusement and sport rather than to destroy Othello specifically, with mischief appearing to be his prime motive until relatively late in the story.
Professional debutants Phoebe Smyth and Will Stanton are both impressive as Desdemona and Cassio respectively, bringing energy and charm to their characters, and Rebecca Banatvala is strong as Emilia, a bodyguard rather than handmaiden in this version.
Director Anthony Almeida introduces a number of innovative visual elements into the production that work well to direct the viewer’s focus, heighten the tension or suggest discrepancies between what is playing out on stage and in the character’s minds.
In addition, some notable song choices play around with the juxtaposition of the 80s setting and the Shakespearean words.
Overall this is a technically strong production, with some good ideas and performances, which is just held back by a couple of character flaws. Much like Othello himself.
Othello is at Northern Stage until September 26. Tickets are available from the box office.