Review: Othello at Northern Stage, Newcastle

Invited: Review by Stephen Stokoe 16 September 2026

Tt was a pleasure to be invited once again to Northern Stage in the heart of Newcastle University grounds for the press night of William Shakespeare’s Othello, A Northern Stage, Manchester and Citizens Theatre Co-Production in assosiation with Royal and Derngate.

Directed by Anthony Almeida, this production transposes the action to the 1980’s when tensions were high between the UK and Argentina about the sovereignty of The Falkland Islands known in the South American country as Las Malvinas.

I do not want to dwell too much on the story line but in a nutshell, Othello (Dwane Walcott) tells the story of a respected Moorish general in the Venetian army who marries Desdemona (Phoebe Smyth), a noblewoman, but is driven to a destructive fit of jealousy by his treacherous ensign, Iago (Maanuc Thiara). Bitter about being passed over for a promotion, Iago manipulates Othello with false evidence suggesting that Desdemona is having an affair with his lieutenant, Cassio (Will Stanton). Consumed by blind rage, Othello murders his innocent wife, only to discover the truth too late, prompting him to take his own life in deep remorse.

The opening of this production is, I believe, intentionally grim. With Iago and Roderigo (Mattieu Sys) arguing in the street in front of Senator Brabantio’s (Chris Gardner) house. The grievances are laid bare and the story is set as Roderigo has designs on the fair Desdemona and we are left in no doubt that there is no love lost between Iago and the brave General Othello. Thus begins Iago’s devious attempts to first attempt to destroy Othello’s marriage and then the man himself.

Thiara’s intepretation is more measured and almost witty that others I have seen before. But the banter and impish smile hides a deep rooted and murderous intent. Gardner, as the hapless love-lorn Roderigo is utilised very cleverly as in this version he is a camera man/videographer capturing the tensions of the war brewing in a national sense but also in the personal lives of these characters. Theatrically, director Almeida, uses this to great effect with live action shots as the story progresses.

Video is used particularly effectively when the unwitting Cassio has a little too much drink and gets into a fight. Dramatic stuff extremely well executed. The violence in the story is all handled very realistically eliiciting gasps from the audience.

For those familiar with Stage One at Northern Stage, and for such a large venue, the feeling is often quite intimate as the performance area is much lower than in other venues of its size. Almeida wanted levels to convey the story effectively for a number of reasons. As we move into the war zone, the stage dramatically transforms as a large portion of the original set falls forward to give the actors a raised performance area. In the second half of the production this raised area becomes a metaphor for the entrapment of the mind of General Othello through the devious machinations of his bitter and jealous underling.

All of the actors put in a superb shift. Walcott is clearly no stranger to the world of Shakespeare and he cuts a dashing and noble figure for most of this production. He does not succomb to radically changing the methodical way a man in his position would think even when he is driven to distraction by having Iago in his ear the whole time.

Smyth’s Desdemona (surely the most tragic herione in all of Shakespeare) is almost the light relief in this production. Despite all the events happening around her, watching her husband change from a lovely and doting man to one riddled with insecurities, she maintains a care-free and light hearted air which proves to be her undoing. There is a particularly heart warming scene as she and her maid, Emilia (Rebecca Banatvala) enjoy a convivial time singing an 80’s classic.

Which brings me neatly on to the sound. Matthew Tuckey has done an amazing job with this. At times it is subtle, at others very much in your face, but at all times appropriate and sometimes comedic. Morphing a familiar drumbeat news channel jingle into Come On, Eileen by Dexy’s Midnight Runners was as genius as it was seamless. This was also complemented by Jack Hathaway’s evocative lighting. Again the atmospherics were used to stunning effect. I particularly liked the illumination of the audience when characters were sharing their thoughts and breaking the fourth wall. A simple but particularly effective device that almost made the audience an additional member of the cast.

Othello at Northern Stage is a thoroughly accomplished and accessible production that does not labour under the weight of its predessors. It is a visually spectacular study of the demise of a powerful figure through listening and trusting someone they should not. Bravo to all the cast, crew, and creatives. It is ‘O my soul’s joy’ to declare it a must see at Northern Stage this season.

Photo credits: Marc Brenner