This striking co-production between Northern Stage, HOME Manchester, Citizens Theatre, and Royal & Derngate delivers a stark, modernised vision of Shakespeare’s Othello. Director Anthony Almeida transports the tragic downfall of the Venetian general to early 1980s Britain against the backdrop of the Falklands War, reimagining Cyprus as an isolated, high-strung military outpost.
The period shift proves remarkably effective, demonstrating how effortlessly the play’s core themes of jealousy, manipulation, and social performance translate across centuries. Natasha Jenkins’ sparse, metallic set creates a hard-edged, sterile arena devoid of softness or warmth, perfectly mirroring the cold calculatedness of the narrative. Erin Guan’s background video design further amplifies the emotional stakes while smoothly guiding the audience through shifts in time and location.
Central to the tragedy is the clandestine marriage between Dwane Walcott’s Othello and Phoebe Smythe’s Desdemona. Smythe and Will Stanton (as the trusted Cassio) both deliver impressive professional debuts fresh out of LAMDA, stepping into these iconic roles with genuine poise. The ensemble is equally robust: Chris Garner establishes an appropriately noble presence as Brabantio, Mattieu Sys brings fine energy to Roderigo, and Grace Hodgett Young shines as Bianca. Rebecca Banatvala provides a vital emotional anchor as Emilia, Desdemona’s companion.
As the orchestrator of ruin, Maanuv Thiara’s Iago is a chillingly repulsive figure. Thiara plays the villain as a venomous serpent, slithering into conversations and whispering mistrust into receptive ears. He is difficult to warm to – though given the monstrous nature of the character, that lingering sense of alienation feels entirely deliberate. Unlike some productions where Iago’s charismatic charm wins over the audience, Thiara leans heavily into raw spite and malice, leaving almost no room for sympathy.
Sara Mackenzie’s understated costuming avoids heavily leaning into overt, caricatured 1980s fashion, choosing instead to blend timeless military attire with modern simplicity. Combined with an atmospheric soundscape that maintains a tense, low-level dread, the design choices keep the focus firmly on the dramatic text. Ultimately, Almeida’s staging reminds us why Shakespeare’s storytelling has endured for four centuries: it remains a gripping, relentless examination of how easily trust can be poisoned.
Othello continues at HOME until 10th October and will then go on tour. For tickets and more information, please visit https://www.homemcr.org/whats-on/othello-18pc
Reviewer: Brian Madden
Reviewed: 1st October 2026
North West End UK Rating: