Dear reader, I personally believe that everyone has something that calls them to the theatre- but what might it be that beckons you there? Murder? Mystery? Mayhem? Or perhaps a classic Shakespearian tragedy that exemplifies the drastic downfall jealously can cause to a misguided man, amidst masses of conflict? Well, look no further, as it’s likely Frantic Assembly have just the performance for you…

Frantic Assembly takes to the stage with their 2022 tour of Othello- running from September 2022 until February 2023- a reimagined, modern adaptation of the traditional Shakespearian text. This updated version of their previously devised runs in both 2008 and 2014, has now visited 9 venues, and features a cast of 9 actors.

The narrative details the story of an Moorish general (Othello) in the Venetian army, who is misled into madness by his seemingly trustworthy ensign (Iago)- awakening his hamartia of deep rooted jealousy- and evoking envy towards his wife’s (Desdemona) innocent friendship with another man. Othello becomes uncharacteristically radical, as Iago secretly reigns havoc upon the other characters- through the spreading of misinformation, and his abuse of status- until Othello eventually murders his wife, before killing himself.

Frantic Assembly utilises the original script, however, this play is set in a current, contemporary UK setting- of a British pub- to effectively convey the relevant main themes of morality and racism to a modern, 21st century audience, in a relatable, yet dramatic, context.

Frantic Assembly has expressed how they were originally, “inspired by fairly recent race riots”, enabling them to draw upon actual experiences of discriminatory behaviour and revolts against this frequent prejudice to intensify the idea concerning the value of race, evident throughout the play. Although, they have further stated that the focus of Othello has seemed to shift in this recent adaptation- whilst ever focusing on the primary concept of the role race embodies within the subsections of society- the idea of manipulation has emerged as a new focal point. The play’s director, Scott Graham, has communicated how, “truth and lies do not exist anymore”, reiterating that now manipulation appears as a repetitive motif within the performance. Thus, educating the audience how the continuous, internal cycle of falsification, as well as the acts of consciously destructive deceit, play a vital role in catalysing the declination of constancy, as well as the subsequent elimination of stability, in the life of Othello. The performance has notably supplied an element of unpredictability, and persistent suspense and tension to the stage.

As a company, movement is central to Frantic Assembly’s ethos, and Othello is no exception. It comes as no surprise that the actors in this piece demonstrate increasingly high levels of advanced physicality, aligning with the company’s reputable signature performance style. This unique style places great emphasis upon the physical demonstration of action, fluidity, and the function of the overall body to portray emotion, even in the absence of speech. Othello has explicitly allowed for a multitude of action to be concurrently accomplished; resulting in the audience becoming largely overwhelmed by such committed displays of movement- whilst still being complimentary to the original text.

Impressively, Othello fully intrigues the audience with the tender and explosive presentation of movement, alongside the repurposed intentions behind the 17th century tragedy. I was thoroughly moved by this emotional performance, and hope to see it return to the stage in the future.

For further information, visit Frantic Assembly’s website: https://www.franticassembly.co.uk/productions/othello-2#overview