A brisk production, there are modern twists in this version of Othello, but it is nonetheless very much Othello – and not one of those baffling reinterpretations with substantial modifications. The overarching themes of deception and one-upmanship are writ large, and of course retain significant relevance in a world of artificial intelligence and people in positions of power saying things that rarely tell it like it is. What is immediately striking in this production is the clarity with which the lines are delivered: it was very well-balanced in a studio space, where it might have been all too easy for more classically trained actors to project – believe it or not – a bit too loudly.
Reasonably light on set and props, the Acting Gymnasium has never been keen on fake blood on stage, though a combination of Shakespearean verse and convincing verbal and bodily reactions – that is, without melodrama – ensures the lack of ketchup (or whatever is used elsewhere for fake blood) isn’t noticeable. There’s more of a psychological angle here – Othello’s (Aryan Chavda) slaying of Desdemona (Prilly Lee) is seen as the end result of an escalating cycle of domestic abuse. The armed forces personnel, which of course includes Othello, are portrayed as displaying symptoms of what would be considered these days to be post-traumatic stress disorder, a point only underlined by modern combat attire.
All this, by design rather than by default, shifts the emphasis from white guys baying for a non-white man’s blood to the psychological impact of active military operations on the characters’ personal and professional lives. These men’s behaviour, then, unpleasant as it is, especially towards women, are manifestations of minds warped by the stresses and strains of active military operations.
Shakespeare enthusiasts might find it interesting to work out which bits of the full text have been excised from this production, and what impact such cuts have on the narrative – and perhaps more pertinently, if they were for the better. A multicultural cast underlines how a character’s actions have ripple effects on others regardless of personal characteristics, and it’s one of those stories where people really do reap what they sow. A thoughtful and energetic rendering of a popular classic.
Review by Chris Omaweng
Othello, a Moorish general, secretly marries Desdemona. Manipulated by the jealous Iago, Othello believes false claims of her infidelity. Consumed by mistrust, he murders Desdemona, discovers the truth too late, and kills himself, leaving tragedy born from deception, racism, and jealousy. Power, love, and manipulation drive the play’s devastating consequences.
Othello – Aryan Chavda
Iago – Michael Claff
Desdemona – Prilly Lee
Cassio – Charles Worthington
Emilia – Helen Probert
Roderigo – Thomas Broderick
Montano – Arsan Ittiparkorn
Brabantio – Robert MacLanachan
Duke of Venice – Brian O’Toole
Lodovico – Irving Jones
Gratiano – Ilyia Romanov
First Official/Clown – Tamaryn Payne
Torture Victim – Ovais Malik
Second Official – Joe Clarke
Soldier / Party girl – Sneha Vincent
First Gentlewoman – Sovati Smith
Soldier / Party guy – Stefan Akorli
Soldier / Party guy – Sean Widdowson
By William Shakespeare
Adapted and directed by Gavin McAlinden
Lighting design by Jonathan Simpson
Sound design by Joe Browning
Acting Gymnasium presents
OTHELLO
Network Theatre
16 to 21 February 2026
