With its disturbing portrait of a world infused with racial politics, misogynist social structures and backstabbing treachery, Shakespeare’s Othello feels like it’s been ripped from today’s headlines – not written over 400 years ago.

     Two lovers come from very different worlds: Othello, a mighty General from a foreign land, and Desdemona, a beautiful Senator’s daughter. They marry, undeterred by the prejudices that surround them. But no sooner are their vows sealed than their love is put to the test, as bigotry, envy, and jealousy begin to pull them apart.

     Playing on Othello’s insecurities as an outsider in a predominantly white society, the charming but envious Iago – an ensign and trusted advisor – stokes the flames of his commanding officer’s jealous nature, bringing both the lovers, and the world they live in, to the point of utter collapse. In its raw emotions and ruthless politics, Othello remains an ageless and poignant tragedy.

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Reviews:

"Richmond and his team have opted for a stylish black-and-white look that works wonderfully […] This unified sense of spectacle and beauty is maintained. It’s a credit to the talents of set designers Conor Farrell and Logan Swain, as well as Emily Friesen, an imaginative costume designer who does wonders with (what looks like) hockey pads.” - Adrian Chamberlain, Times Colonist

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“Everything in this production feels grand. With moving sets courtesy of set designers Conor Farrell and Logan Swain, the set is easily adaptable to each scene and used in incredibly creative ways.” - Check the Program

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“The set (co-designed by Conor Farrell and Logan Swain) is symbolic as well, using a gigantic white silk veil that is periodically turned, twirled, and folded—revealing new sets underneath as if by magic.” - Emily Welch, NEXUS

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“The set, designer by Conor Farrell and Logan Swain, consists of huge archways and sets of stairs being moved around to form whatever venue is required. Brilliant! Of course the [Chief] Dan George Theatre […] provides a perfect space for free movement of both people and props.” - Sheila Martindale, Monday Magazine

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“From the very first scene, the set designers have taken advantage of a movable set with stairs, doorways, and a sheet used for a sail, a river, a blanket, and a tent. The creativity in how the changing sets are used is a genuine delight to see, as is how the characters interact with them. The ensemble is also used to move the sets around and how they do that feels organic to the world of the play.” - Brianna Bock, The Martlet