Shakespeare’s tale of jealousy, manipulation and betrayal is given a striking new setting at Northern Stage in Newcastle, reminding us that some themes really are timeless.
Despite Othello being one of Shakespeare’s best-known tragedies, this was my first time seeing it on stage, so I arrived at the theatre with no real preconceptions.
In this new interpretation, award-winning director Anthony Almeida swaps the backdrop of the 16th-century Ottoman-Venetian war for the very different landscape of the Falklands conflict in the 1980s.
Culturally, the 1980s have very much been back in fashion of late. From the retro nostalgia of Stranger Things to the recent ‘ask ChatGPT what you would look like in the 80s’ trend doing the rounds on Instagram, our fascination with the decade shows little sign of fading.
As an 80s baby myself, I feel somewhat blessed to have at least faint recollections of what it was really like to live through the decade – although, thankfully, I don’t remember quite as much barbed wire as we were presented with on stage!
The 1980s references are peppered throughout the play, from grainy ITN news coverage appearing on a television screen to the ensemble belting out Come on Eileen and Everybody Wants to Rule the World.
The wardrobe and styling are more restrained, with military khaki tones and casual clothing dominating rather than giving us a bold take on 80s fashion.
This isn’t an exercise in 80s nostalgia, though. Instead, the new setting brings the themes of Othello into the modern era, making it feel far more relatable.
Jealousy. Deceit. Manipulation. Power. Love. Insecurity.
These all transcend time and location.
The cast and performances
At the heart of the story is Othello, a military general who has secretly eloped with Desdemona, the daughter of a Venetian senator. But when his trusted ensign Iago begins to plant seeds of doubt about his wife’s fidelity, Othello begins to unravel.
Dwane Walcott’s Othello certainly captures the poise and presence of a military leader but, for me, his delivery was occasionally stifled. At times, it felt as though he was quickly reciting his lines rather than allowing the words to really land with conviction, creating a slight disconnect between his dialogue and body language. I found his performance more compelling in the second act, as Othello’s paranoia takes hold and the tension begins to build.
Meanwhile, Maanuv Thiara’s Iago is a fascinating watch, venomous in his disdain for Othello. At intervals, he speaks directly to us, the audience, luring us into his conspiracies. Helpless, we watch the tragic tale unfold as, one by one, the characters are drawn into his poisonous plotting and scheming.
But it is Phoebe Smyth’s Desdemona who really stood out on the night. It’s hard to believe this is her professional stage debut.
Smyth brings a playful warmth to Desdemona, completely spell-bound by the magic of falling in love and being devoted to another. She is fully immersed in the role, with every word, expression and movement feeling instinctive.
A striking production design
The production’s stark and gritty staging – although initially appearing somewhat bare – works incredibly well.
As Othello’s paranoia escalates, the set gradually closes in on itself, with the characters surrounded by fencing that transforms into a claustrophobic cage, signalling the inevitability of what lies ahead.
The use of cameras and a huge screen also add an intense, documentary-style feel to the staging. Seeing the characters’ faces projected so large makes it impossible for us to look away and escape their emotions, drawing us even further into all the simmering chaos and confusion.
My final thoughts on Othello
For me, the most intriguing aspect of this three-hour production is the story’s relevance today. Not the 1500s, not even the 1980s, but now.
Questioning what is real, who to trust and what to believe still feels very familiar (AI, deepfakes or disinformation, anyone?).
Watching Othello’s demise was a timely reminder that we shouldn’t always believe everything we’re told and that we should perhaps be a little bit more critical of the people – and world – around us.
Othello runs until 26th September 2026 at Northern Stage. For more details and tickets, visit northernstage.co.uk.
Photos: Marc Brenner
