Direction and Choreography
The Ambassadors Theatre, West End | 26th September – 8th December 2017
National Youth Theatre present Frantic Assembly’s Othello
Written by William Shakespeare and adapted by Scott Graham and Steven Hoggett for Frantic Assembly
This is a mating ground. A dog-eat-dog kind of place. And it’s about to kick off… In an exclusive collaboration, the National Youth Theatre are proud to present Frantic Assembly’s award-winning adaptation of Othello.
This electrifying take on Shakespeare’s thriller of paranoia, jealousy and murder takes a scalpel to 21st century Britain and will leave you breathless.
The production is National Youth Theatre’s first staging of Othello since it’s acclaimed 1995/1996 production starring Chiwetel Ejiofor in the title role.
Press
★★★★★ ‘This adaptation brings the text of “Othello” bang up to date. The direction, and particularly the choreography (and I use that word advisedly) was stunning’ London Theatre 1
★★★★★ ‘Simon Pittman’s direction has drawn out fantastic performances …This is a visceral, thought-provoking and accessible retelling of a great Shakespearean tragedy’ Broadway World
★★★★★ ‘vibrant, fast-moving and truly engaging’ Plays To See
★★★★ ‘Slick, visually arresting adaptation showcases a skilled and committed ensemble’ The Stage
★★★★ ‘I challenge anyone who thinks that Shakespeare is boring, irrelevant and incomprehensible to come and see this production, featuring the stars of the future, and then re evaluate’ Upstaged Arts
‘Vibrant and theatrically exciting… the succinct, fast paced two hour (including interval) piece is both riveting and profoundly shocking’ Sardines Magazine
Selected Reviews
Kicking off with a swaggering, seamlessly choreographed movement sequence packed with evocative details and expressive character interactions, Simon Pittman’s Othello is infused with a striking physical aesthetic.
The production, a collaboration between National Youth Theatre and Frantic Assembly, draws heavily on the 2001 adaptation by Scott Graham and Steven Hoggett, relocating the action to a contemporary urban estate. In this context, the show pointedly explores the reckless, restless energy of marginalised young people, and the ease with which such undirected anger can be manipulated.
The large ensemble tackle both the Shakespearean dialogue and the challenging physicality with great energy and precision. Mohammed Mansaray is a warm and gentle Othello, uncomfortable with the violent world he is immersed in. Beside him, Jamie Rose’s impressive Iago is flippant and outwardly gregarious, slipping in filthy looks and self-satisfied sneers when no one is looking.
Only his wife Emelia – a splendidly bolshy Megan Burke – gets to see the depths of his nasty, nihilistic distain. She delivers her final speech in a passionate rush, equal parts horrified realisation and vengeful accusation.
Laura Hopkins’ set design is effective, evoking a dingy cellar bar with little more than a pool table and three poster-covered pillars. The whole construction vibrates and sways, the ceiling closing in and columns tilting to sharp angles during scenes of drunkenness or wrenching emotion.
The score, from Becky Smith, is full of swelling strings and tense melodies, complimenting the production’s stylish, contemporary feel while retaining the sense of timeless tragedy.
★★★★ The Stage
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In an exclusive collaboration, National Youth Theatre’s Rep Company present Frantic Assembly’s award-winning adaptation of Othello. This is the company’s first staging of Shakespeare’s text since its acclaimed 1995/1996 production starring Chiwetel Ejiofor in the title role.
Set in a Yorkshire pub against the backdrop of fractious racial politics, Scott Graham and Steven Hoggett’s adaptation feels incredibly relevant. In addition, Simon Pittman’s direction has drawn out fantastic performances from these young actors.
The play starts with a bang, opening with a movement sequence executed to perfection. We are introduced to a contemporary world; The Cypress pub is a violent kind of place, playing host to anger, pain, machismo and lust. Members of the ensemble alternately drink, play pool, revel, and fight.
Their commitment and energy is mesmerising. Love, sex, camaraderie and paranoia are all writ large. Becky Smith’s sound design tells its own story, as well as working well with the movement.
The familiar story unfolds, revolving around Othello (Mohammed Mansaray), a Moorish general, and his unfaithful lackey, Iago (Jamie Rose). Referenced as “honest Iago”, the clever wordsmith plays on the other characters’ weaknesses to turn them against one another – convincing Othello of his wife’s betrayal.
Rose is superb casting as the manipulator, emerging as his master’s puppeteer. Rose delivers the text in a way that pierces like a sword, injecting Othello’s mind with poisonous paranoia. His Iago is cunning, but still performed with enough charm to makes him likeable.
The entire company is physically adept, but it’s Eddie-Joe Robinson who stands out the most. His character Cassio gets increasingly drunk, and Robinson moves like a rag doll. His body is as light as a feather, whilst at the same time containing the core strength required to perform such impressive lifts and weight exchanges. It’s impossible to take your eyes off him.
This is a visceral, thought-provoking and accessible retelling of a great Shakespearean tragedy. The cast contains some of the finest young performers in the UK right now. Othello provokes a reaction – it’s impossible to resist.
★★★★★ Broadway World