Nothello – Belgrade Theatre, Coventry

Writer: Mojisola Adebayo

Director: Justine Themen

It’s difficult to walk in the footsteps of giants, especially when you choose to walk an unexplored path. This is what Nothello has attempted with this ambitious and experimental performance that explores the racialovertones of the classic play Othello. It discusses the impact the piece has had on modern society and the prejudices and stereotypes cast on black and mixed-race members of society.

This clever and innovative performance is helmed by Justine Themen who, working with a small stage and a sizable cast and ensemble, has created something spectacular, full of expressive movement and powerful speeches. The play uses the small amounts of scenery, a bed and a set of stairs, to great effect adding elements of acrobatics and interpretive dance to aid the subtle imagery within the script.

The script, written by Mojisola Adebayo, is complex and rich, full of humour and social commentary mentioning such evocative moments as the death of George Floyd and Will Smith’s Oscars antics. But the script also serves an important purpose in exploring difficult themes and beginning conversations about race that are often ignored or passed over.

The highlight is the energetic and exuberant cast: they bring enthusiasm, delight and humour to the play. Harris Cain and Aimee Powell play the twins Nothello and Desdeknownow. While Cain brings energy and passion to his role, which begins as a heckler from the stands, Powell gives a more mature and refined performance as the introspective twin going through an identity crisis. But the real highlight is Gabriel Akamo, who gives a powerful performance as Othello and then is a hidden gem of wit and reflection: he is the first character to truly challenge Nothello on his opinions and their time together on stage is special due to this dynamic.

Unfortunately, there is a problem with the script in that it overreaches itself, trying to solve all the world’s social dialogue issues in the space of an hour. Trying to cram so much into such a short timeframe reduces conversations on sexuality to a single duologue and thoughts on gender to a single line. This imbalance doesn’t ruin the play but instead hints toward the need for a longer piece where all of these interlocking issues can be explored in the depth they deserve.

Perhaps the only other issue with the performance concerns some of the decisions made for movement and design: the use of harsh red lights and strange distorted movements feels more like a gimmick and unfortunately kills the momentum of some of the speeches, which, as they grow to a crescendo, are halted, and the build-up has to start again.

Despite this Nothello is a risk worth taking and a play worth seeing: the conversations that are started on the stage are ones we should be having in what is arguably the most culturally diverse city in the country during its city of culture celebrations.

Runs Until 21 May 2022