Frantic Assembly’s modern take on Shakespeare’s Othello is not your everyday Shakespeare production. It is a re-imagining of the famous tale on quite a large scheme: it is striking, especially physically as you would expect from this company, but it falls short of the mark and often lacks the skills required to perform a classical text as such.

The story is brought up to date and set in a pub, complete with chavs in tracksuits, a pool table and gang warfare. Many of the characters, as well as the action that takes place, just seem too juvenile and forced. It makes it hard to sit comfortably and empathise with the characters – this piece does not tug at the heartstrings at all, and a tragedy like Othello certainly should.

While the physical scenes are visually pleasing (the drunken movement scene is choreographed and executed delightfully), they oppose the text in such stark contrast that makes it seem out of place. The often blaring 90s music overpowers too. The set design is a novel idea, with moving walls that collapse into the actors to great effect: although this could have been smoother and more aesthetically pleasing, as at times the set correcting itself becomes distracting.

The cast lack the accuracy and precision that such classical text needs to convey its message; it is not helped by the characterisation that the setting requires and some of the actors lacked the vocal skill to fill such a venue. Lines become muddy, meanings become obscure with some lines completely lost. There are some woeful attempts at Yorkshire accents in the piece; it seems like any resemblance to a northern accent will do in some cases and this makes uncomfortable watching for any native of the great county.

Steven Miller gives the stand-out performance of the evening; he speaks the text as if it is his natural tongue. His manipulative Iago gives the piece the drive it otherwise lacks as he plays the other characters off against each other. Mark Ebulue’s Othello is physically strong but the characterisation lacks some light and shade and his diction is often poor. Kirsty Oswald’s Desdemona is acted well, but there is something in the interpretation that doesn’t allow the portrayal to ring true to the written character in some scenes.

Yes, it is gritty and emotionally fuelled and many will enjoy the nature of this piece – but this production has too many flaws to strike home. Too much of the heart and Shakespeare’s craft is lost in the concept and execution.   ★★★☆☆ Sam Chipman   13/11/14