If you are somewhat unfamiliar with Shakespeare, it is understandable to envisage a Shakespearean tragedy played out on the stage as nothing more than perfect prose coupled with dramatic overreactions; a long dribble of words that doth mean all but nought. However, every time the Melbourne Shakespeare Company touches a script from their iconic namesake author, it is transformed, as life is breathed upon it and relevance lit within it.

The latest play from this remarkable company is, Othello, a riveting new adaptation directed by the acclaimed Tanya Gerstle. Summed up in short as a story about a man who is tricked into believing his wife is unfaithful, by his closest ally, resulting in him killing his wife and then himself. On a much deeper level, this is a 421 year-old story that reflects the horrors of war and its impact on mental health; the struggle for power on the battlefield and in the bedroom; how jealousy and hatred can warp pride and love; and the brutality of intimate partner violence.

In her signature style of bold immersion theatre, Gerstle has stripped bare this Shakespearean tragedy to its raw essence. The set design is clever in its simplistic complexity, constructed at levels, with the sheer wings both representing moments in time and a reflection of what haunts the character’s mind. The costuming is earthy, with whimsical layers for the women and military style jackets and tailoring for the men. All character garb is stripped back, as exposed skin and shirtless chests are a physical representation of both the tangibility and intimacy of the story.

As Gerstle states in her Director’s Notes, ” The men return, scared, shattered and untethered… [they] are weaponised, male mentorship is corrupted and the women in their lives are collateral damage. Although written in 1604, Othello holds up a mirror to our times. Men are still killing their intimate partners at alarming rates and despite the advances in civilization and the rapidity of technological change, war is still entrenched as a preferred form of dispute resolution.”

The savagery of intimate partner violence, the patriarchal tendency not to believe women, as well as the manmade wars ravaging the world are all laid bare in this production, as it dawns on the audience that the unravelling of the relationships and civilisation we see before us, are as disturbingly accurate today as they were in the 17th century.

With a power-charged five-actor ensemble, the performances are an intense display of a deeply human experience across the voids of jealousy, power, betrayal, violence and death. There is no sugar-coating here; the scenes are unapologetic, organic and electric. With mind-blowing and intricate monologues and dialogue, exploding with emotion and inflection the actors showcase their pure mastery of the script, with nerey a faulter.

Christopher Kirby commands the stage as the titular character, Othello, delivering a nuanced performance of the Moorish military commander and husband. Witnessing him unravel from a loving husband to an angry, jealous and controlling murderer is as unsettling as it is gripping. His final desperate moments an indication of just how distorted his mind has become. Dushan Phillips shines as the charismatic, sly and treacherous Iago, his deceitful and diabolical plot to bring about the downfall of every character in the story is as unnerving as it is captivating. Matt Furlani as Cassio is exceptionally dynamic, displaying the fragility of the post-war psyche juxtaposed against the continued need for honour and duty to prevail. Tanya Schneider as Desdemona and Lucy Ansell as Emilia both showcase with deep and powerful range the rollercoaster of emotions that women endure as a result of the trauma and violence beat upon them by their abusers. The sadness is overwhelming when, despite their pleas and bending to their spouses demands, they are not believed and their lights are snuffed out.

On reflection, the ending of the play offers no justice for the victims, only lingering sadness and the emptiness of tragedy. A resounding echo of how the perpetrator often evades justice, as the hollow silence of their victims engulfs us all. Breathtaking, gritty and visceral, Othello is a must-see, not just for Shakespeare lovers to witness (yet again) how relevant the author still is today, but to experience the skill and artistry of these amazing actors.

The season ends September 28, 2025. Tickets are selling fast and shows are selling out. Don’t miss your chance to see this brilliant play. Buy your tickets here.