Shakespeare and the Falklands War might not seem like the most obvious pairing, but this new production of Othello, at HOME Manchester, makes a surprisingly convincing case for bringing the two together.
Relocating Shakespeare’s tragedy to the early 1980s, the production gives Othello a distinctive new setting while allowing its original story to remain firmly at the centre. It’s inventive, visually impressive and led by an exceptional cast, with Maanuv Thiara and Dwane Walcott creating a particularly compelling dynamic as Iago and Othello.
For anyone unfamiliar with Othello, the tragedy centres around its titular character, a respected military commander whose marriage to Desdemona becomes the target of Iago, a man determined to manipulate those around him for his own agenda.
Here, Shakespeare’s world is relocated to Britain in the early 1980s. It’s a setting that feels natural for the play, giving its soldiers, hierarchy and tensions a recognisable context without allowing the period to overwhelm Shakespeare’s original story.
There are, however, moments where the setting can feel a little unclear, particularly without much prior knowledge of the Falklands War. It doesn’t detract from the production, but a little background context certainly helps.
There’s a lot of artistic expression in the production, particularly in the way the stage evolves alongside the story. Cameras are incorporated into the action, performers move fluidly around the space, and the staging frequently feels symbolic rather than simply functional.
This becomes particularly effective in Act Two, when Othello and Desdemona are surrounded by an enclosed fence. As Othello becomes increasingly consumed by the version of events Iago has constructed for him, the physical space around the couple seems to close in too. It’s a clever visual representation of a relationship becoming increasingly trapped by suspicion.
Maanuv Thiara makes Iago dangerously charming
There is an almost unstoppable dynamic between Maanuv Thiara and Dwane Walcott whenever Iago and Othello share the stage. Thiara is exceptional as Iago. His manipulation is calculated and cruel, but there’s an unnerving charm to the performance that makes him fascinating to watch.
By breaking the fourth wall, Iago frequently brings the audience directly into his plotting, revealing what he intends to do before stepping back into the action and manipulating the characters around him. We know exactly what he’s doing, and we disagree with every decision he makes. Yet, Thiara somehow makes spending time in Iago’s company entertaining and humorous.
It’s a showstopping performance from Thiara. He gives Iago enough charisma for his manipulation to be believable, while never disguising the ugliness of what he is actually doing.
Dwane Walcott’s transformation as Othello
Opposite him, Dwane Walcott dominates the stage as Othello.
The transformation he undergoes across the production is remarkable. The Othello we initially meet is warm, composed, and deeply in love with his wife. There’s a gentleness to Walcott’s performance that makes what follows considerably harder to watch.
Under Iago’s influence, that warmth gradually disappears. Walcott doesn’t simply switch from loving husband to furious killer. We watch the confusion slowly take over until the character is almost unrecognisable.
Particularly during some of the production’s most horrific scenes, Walcott handles the character shift brilliantly, making Othello’s descent both mesmerising and deeply uncomfortable to watch.
The women at the heart of Othello
Having never seen Othello performed before, one of the things I found most striking – and saddening – was just how recognisable parts of its treatment of women remain more than four centuries after it was written.
The women in this production are also responsible for some of its most memorable performances.
Grace Hodgett Young brings an effortless elegance to Bianca, while Phoebe Smyth gives Desdemona a quiet strength that becomes increasingly heartbreaking as the accusations against her escalate. Her pleas of innocence turning into unwavering determination are incredible to witness on stage.
Rebecca Banatvala’s final scenes as Emilia are particularly powerful. As the extent of Iago’s actions becomes clear, Banatvala captures her horror, grief, and anger with a rawness that makes the closing moments genuinely difficult to watch. Her final scenes are heart-shattering, but beautifully performed.
Final thoughts
Perhaps the most uncomfortable part of seeing Othello for the first time is realising how little distance there sometimes seems to be between its world and our own.
More than 400 years separate us from Shakespeare’s original play, while this production places another four decades between its characters and the audience. Yet its exploration of relationships, jealousy, manipulation, and the treatment of women rarely feels confined to either period.
It’s perhaps why this interpretation works so well: the 1980s setting gives Othello a new visual identity, but the story itself needs remarkably little help to feel relevant.
Othello is running at the Home Manchester until 10 October. Book your tickets now.
**Tickets gifted in exchange for an honest review
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
