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Review: Othello at Flight Path Theatre

Review by Grace Swadling


"O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on.”


Jealousy can indeed be a monstrous thing, and nowhere is it played out more monstrously than in Shakespeare’s Othello. La Fábrica de Microobios and Gente Perdida present a compelling and intense new rendition of Shakespeare's volatile tragedy at the Flightpath Theatre. Directed by Diana Paola Alvarado and assistant director Patricio Ibarra, this production challenges traditional approaches, featuring an entirely female cast and a performance deeply rooted in movement, offering a fresh and impactful encounter with a classic narrative.


Alvarado noted that “At its heart, Othello is not about race alone” and having an all-female cast worked to amplify the painful and universal human experiences of greed, anger, ambition and love, stripping it back to its emotional core. Natasha Cheng was an absolute stand out of this production as the titular Othello; consumed by possession, corrupted by suspicion and brutally deceived. Cheng’s stage presence was undeniable and Othello’s descent into mistrust and violence was utterly believable. 


Lisa Hanssens played well into the scheming and machiavellian elements of Iago; however the darkness and rage could have been elevated more through a deeper exploration of motivations.  Sedem Banini’s Desdomona had the right amount of innocence and sensuality, although at times her dialogue seemed rushed and more care taken to lines would have elevated her performance. Chloe Schwank performed strongly as the brash and boisterous Cassio but also showcased moments of real vulnerability.


All the production elements were tonally consistent throughout the entire production; the set design and lighting were absolutely phenomenal - although set in no real designated time and space, audiences were immediately transported to a shadowy world of deceit, political machinations and betrayal. Stage smoke filled the space, creating an atmospheric playground for the volatility to unfold.


Jason Lowe’s set consisted of 4 moving iron pillars and military trunks that both set the scene for this harsh, industrial world and allowed the cast to transition from scene to scene seamlessly. Theo Carroll’s lighting design worked brilliantly with the set, creating dark pockets for cast to hide in and providing warm lights and an appropriate moodiness to the entire production. Leandro Sanchez’s costumes were fantastic and again set the scene for this gloomy, industrial world with dark leathers and furs, where both the masculine and feminine were at play.


Musical interludes were woven throughout the piece and the creative choice to make all diegetic music come from within the actors sat well within the world Alvarado has created. At times they lingered a bit too long and detracted from the dialogue, making the actors work harder to be heard but overall they were an engaging addition. The tension between characters was also somewhat lacking in some scenes; it needed to be always simmering under the surfaces so that the stakes of the world were always present for an audience. However the whole ensemble worked well together to invite audiences into this emotionally fraught and charged atmosphere.


If you know the story of Othello, you know that no matter how hard you wish, when it comes down to it, Desdamona will always be hopelessly destroyed at Othello’s deceived hands. This production offers no answers or attempts to leave an audience with false hope; rather it offers an invitation, in Alvarado’s words, “to look closer, to listen harder and to imagine what might be possible…” It’s a great night of independent theatre and a reclamation of female voices in a world still reckoning with questions of identity, race, gender, power, and manipulation.

Image Supplied
Image Supplied





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