Having watched the opening night of an all female cast of Othello at the intimate Flight Path Theatre, I was struck by the ways in which this production allowed for exploration of feminist themes.The casting choice added a unique layer of complexity to the play’s representation of women, highlighting the ways in which women can be both perpetrators and victims of patriarchal oppression. This reversal of the traditional all male cast was a fascinating twist, and it begged the question: did this feel the same as watching a traditional production with male actors playing female roles?
As the production began, the eight actors were spaced about the stage, poised and ready. Thick haze hung in the rafters, backlit with LEDs, which created foreboding silhouettes. Sedem Banini as Desdemona was positioned center stage, this was no accident as her presence drew the audience’s attention. In these opening scenes, Cath Young capably played Brabintino, bringing a sense of gravity and authenticity to the role. However, it was not long before Natasha Cheng’s Othello overshadowed everyone, creating a vulnerable performance that masterfully captured the character’s confusion and emotional turmoil. In traditional productions of Othello, the audience often feels empathy for the titular character’s blindness and jealousy, but in this production, we did not.
Lucinda Jurd as Emilia brought a sense of loyalty and compassion to the role, particularly in the later scenes of the play, and her character can be seen as a feminist voice in the play, speaking out against the injustices that Desdemona suffers and challenging the patriarchal norms that govern the play’s world. Chloë Schwank’s portrayal of Cassio offered a subtle exploration of toxic masculinity, highlighting the character’s vulnerability and blindness to manipulation. The dynamic between Cassio and Bianca, played by Rachel Bendeich, underscored the objectification of women in a patriarchal society, adding a feminist lens to the character’s relationships and interactions.
Producer and Director Diana Paola Alvarado’s vision for this production was evident with a strong emphasis on physicality and intimacy. The transitional movement style, which saw the ensemble navigate the compact performance space with a fluid, almost ethereal quality, added to the sense of unease and tension that permeates the play. Alvarado’s direction bore the influence of Ayse Tashkiran and Jacques Lecoq, evident in the production’s thoughtful exploration of touch. The deliberate use of physicality was a key element in creating vulnerability and tension. Yet, despite the promotional material claiming that words would “give way to movement”, the production was surprisingly dense with Shakespeare’s dialogue which the cast delivered with conviction and passion.
The play’s use of music and song was also a notable aspect, with Musical Director Patricio Ibarra bookending the play with a cappella singing. The infamous Willow Song was replaced by a traditional lullaby from Ghana, Tutu Gbɔvi (Ewe), which highlighted Banini’s heritage and dexterity and added poignancy to the moment. In a final interesting twist, the cast’s rendition of the Beyoncé and Jay-Z classic, Crazy in Love, was created as a kind of cannon, whilst Othello dragged Desdemona across the stage by her hair onto their bed and smothered her to death.
This moment marked a turning point in the production, with the tension reaching a boiling point. The objectification of Desdemona was a powerful theme, her death at the hands of Othello serving as a commentary on the ways in which women are often treated as objects, rather than as agents with their own autonomy. The silence and marginalisation of women were also evident, as Desdemona’s voice was consistently suppressed, and Emilia’s words were often dismissed or ignored.
As the play hurtled towards its tragic conclusion, Cris Bocchi brought a sense of authority to their portrayal of Lodovico. The classic finale of a Shakespearean tragedy unfolded, with a pile of bodies, and Iago left to confront the consequences of his actions. Lisa Hannon’s Iago was a notable performance, bringing to life the character’s devious and manipulative nature with conviction. Every moment on stage was underscored by a sense of duplicity and cunning, making Iago a truly formidable and dislikeable character.
The set and props, designed by Jason Lowe, were simple yet effective, providing four movable pier-like set pieces that allowed the actors to move freely and recreate spaces and places effortlessly. The costumes, designed by Leandro Sanchez, were simple yet effective, tying into the maritime themes. The lighting design by Theo Carroll, assisted by Eliza Dodd, featured a haze of soft, muted yellow tones and hues, perfectly capturing the dank and foreboding atmosphere.
Ultimately, this production of Othello was a powerful reminder of the ways in which women’s voices and experiences can be marginalised, and the devastating consequences that can result from this silence. The production’s feminist lens was a crucial aspect of its impact, highlighting the importance of male accountability in challenging toxic masculinity and the objectification of women. Cheng’s, “green-eyed monster”, of jealousy, which she manipulated to drive the plot, became a potent symbol of the destructive power of patriarchal norms, and the ways in which they can consume and destroy both individuals and relationships.
So, to return to the conversation did this feel the same as watching a traditional production with male actors playing female roles? Well, some 400 years after Shakespeare conceived a character who kills his wife for believing she’s been unfaithful, the brutality of intimate partner violence detailed in Othello feels disturbingly contemporary, and this production was a stark reminder of the ways in which women’s bodies are often commodified and exploited.
Go see the show and support independent theatre because it’s brave, interesting, and at the core of what makes us human.
Program here: https://storage2.me-qr.com/pdf/51737b25-5dd0-4aea-a6c0-cee9d32446d2.pdf
Production Details:
🗓️ Dates: July 23 – August 9, 2025
📍 Venue: Flight Path Theatre, 142 Addison Rd, Marrickville
🎟️ Tickets & Info: www.flightpaththeatre.org/whats-on/othello
⏰ Running Time: Approx. 100 minutes (no interval)
⚠️ Content Warning: Racial slurs, misogyny, domestic violence, suicide
