This retelling of Othello by Mojisola Adebayo starts rather traditionally, launching into a classic performance of the final tragic scenes of Desdemona’s death until a heckler interrupts from the audience, objecting to the derogative language. This is where the absurdist aspect kicks in. After declaring the story can be rewritten, the heckler, played by Harris Cain, identifies himself as Nothello, Othello and Desdemona’s unborn child. The crew then spend the next hour addressing their prejudices in an attempt to bring a happy ending to Shakespeare’s tragedy.
The plot is overly complex, but if you can look past the character addressing actors playing the character of his parents as though they are actually his parents, while also recognising them as actors in a location that is simultaneously a 21st century theatre, Desdemona’s womb, and a mysterious dimensional audition room – the show synopsis does promise meta – some incredibly valid points are raised, and important conversations started, just as you’d hope from the Belgrade’s final production for Coventry UK City of Culture 2021.
It’s a bold choice to challenge Shakespeare, the father of English literature, and not necessarily a bad one – we don’t learn and grow as a society without challenging the status quo. However, the critique in Nothello somewhat misses the mark, rewriting history or literature doesn’t erase it, and surely a better way of raising those missing voices is by portraying new stories.
Despite my reservations about its approach, the show does provide valuable social commentary particularly surrounding mixed-race and identity. Aimee Powell’s monlogues as Desdeknownow, Nothello’s twin, are impassioned as she flits between the “best of both worlds” and belonging nowhere with the chorus around her intensifying her identity crisis.
A production as wild as this would not be nearly as successful without such a superb cast. Cain is passionate at Nothello, bringing a convincing 400 years of frustration to the stage as well as some naivety. Gabriel Akamo as actor Otis playing Othello stands out for his poise and wit in his conversations challenging Nothello and his own prejudices. Cathy (Rayyah McCaul) also makes progress exploring Desdemona’s experiences, climaxing at her realisaton of white fragility, only to be written off with a giggle. Much of the script hints at these big conversations, and it’s unfortunate the show isn’t longer to delve into the issues properly. However, if this play drives these conversations to be had off stage, it’s a job well done.
Nothello is showing at the Belgrade until 21st May and you can purchase tickets on the website, https://www.belgrade.co.uk/events/nothello/.
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Katie Reviews 