Othello (Melbourne Shakespeare Company), at fortyfivedownstairs - 105 minutes, with no interval

For someone who unashamedly struggles with Shakespeare (I never studied the Bard at school and find his language challenging), I was invested in Othello.

I should add that my practice is never to read anything about a play before I see it. The reason – it must speak to me on its own merits.

So, it was that after a compelling start, involving a killing, it took me a few minutes to cotton on to what was going down.

Photos by Nick Robertson

But once I did, I was in it all the way.

In fact, even before the play proper begins, in a nod to the dastardly deeds that follow, foreboding music is playing.

Now for those reading this who may, like me, be uninitiated, the story is driven by envy and fury.

Othello is a respected Moorish military commander who is married to Desdemona.

The pair starts out very much in love, but that quickly changes, after Othello gets wind that Desdemona has betrayed him.

Never mind that what he has been told is a blatant lie, forged by his trusted but traitorous ensign Iago, who has been overlooked for promotion.

Othello believes Iago, who capitalises on physical “proof” of Desdemona’s infidelity.

The consequences are disastrous, as blood will be spilled in murder most foul.

Director Tanya Gerstle has stripped back Othello to its essential ingredients, its muscularity and tragedy most evident.

Dushan Philips excels in conspiratorial conceit as the scheming, manipulative Iago. He appears to revel in the fiendishness of his character.

Intense, passionate and fearsome, Christopher Kirby inhabits Othello with fervour, frenzy and angst.

Tanya Schneider is a picture of virtue as the wrongly accused Desdemona.

Her dutiful attendant and Iago’s wife, Emilia, is stoically portrayed by Lucy Ansell, who doubles as a woman in love with Othello’s second in command, Casio.

Speaking of Casio, readily deceived and pliable is how I would describe Matthew Furlani’s representation. He also fills the role of a senator.

A grim, bare bones set design by Callum Dale, built around one of the pillars that is a mainstay at fortyfivedownstairs, suits the piece perfectly.

Together with black see through curtained walkways on either side, it speaks to a portent of doom.

Overall, the production design, complete with often austere lighting by Sidney Younger and redolent sound design by composer Jack Burmeister, hits the mark.

So, too the largely darker toned costuming from designer Samantha Hastings evident throughout.

Melbourne Shakespeare Company’s Othello is pointed, potent and polished, a triumph for director Gerstle, artistic director Jennifer Sarah Dean, et al.

One hour 45 minutes without interval, I am pleased to say that it is much more accessible than I anticipated it might be.

It is on at fortyfivedownstairs until 28^th September, 2025.