REVIEW: Othello - at the Royal Shakespeare Theatre. Stratford-upon-Avon, various dates until Friday, August 28, 2015.

THIS 400-year-old tale of jealousy, deception and racism is propelled into the modern era of a war-torn Middle East and continues those underlying themes which have prevailed in the summer season of plays from the RSC.

Artistic director Gregory Doran says they have taken Venice as the starting point to explore what it is to be an outsider with two of Shakespeare’s greatest plays and plays by his contemporaries from a golden age of theatre.

Already the themes of racism and revenge have been laid bare in The Merchant of Venice and The Jew of Malta, and the destructive power of jealousy was also evident in Love’s Sacrifice, and now Othello, and more is to come when the season concludes with Volpone.

“We have attempted to take a bold and uncompromising look at issues which resonate with contemporary audiences,” says Doran, and how well they have succeeded.

Here Othello is thrust into the 21st century - surrounded by combat-ready soldiers and high-tech gadgetry. He could be leading an army in Libya, Iraq, Syria or any other neighbouring country in that volatile area of the world but director Iqbal Khan abides by the bard in that he has travelled from Venice to Cyprus to hold back the Turks - unaware the biggest threat he faces is right under his nose.

And there’s a little slice of theatrical history here with Lucian Msamati becoming the first black actor to play the scheming and jealous ensign, Iago, at the RSC. This has traditionally been played as a white character and the move has certainly created unusual dimensions regarding his deteriorating relationship with the Moor, Othello.

Msamati is in his element with a truly engaging and stunning portrayal. His Iago is a charmer with a sense of fun and as he craftily manipulates all close at hand he also woos and sweeps the audience along too. But as he seeks revenge for perceived humiliation it’s his dark side which eventually unleashes the beast lurking in Hugh Quarshie’s initially charismatic and caring Othello as his ordered world unravels.

Two strong performances here while Joanna Vanderham also offers a solid and confident RSC debut as Desdemona. Her vulnerability is nicely complemented by Ayesha Dharker’s emotional and outstanding Emilia, Iago’s put-upon wife and Desdemona’s companion.

There are touching moments but far more dramatic ones, some involving gruesome torture, but the biggest shock to all came when Othello spun round and landed a blow to his wife Desdemona’s head.

Cue sharp intakes of breath and loud gasps among the audience!

Elsewhere James Corrigan’s corruptible Roderigo and Nadia Albina’s commanding Duke of Venice caught the eye.

It’s all played out on a set that is simplicity itself yet staggeringly effective. Ciara Bagnall has mist swirling around the huge skeletal frame of a Gothic building with its crumbling stone pillars and towering arch with a huge crack. There’s little else - a few large boxes now and then, a table and a computer linked to a huge screen, and a few other implements linked to torture - a drill, hammer and a blow-torch!

These appear only briefly so it really does invite the audience to think for themselves and let their imagination flow. But what really ensures there is complete symmetry is a central water area which provides an instant canal, torture pool, stream to hide in and Desdemona’s bath - all of which seemed to appear as if by magic.

One moment a solid stage floor, next second we have a gondola on a Venetian canal. It certainly floated my boat…

Khan has definitely freshened up Othello and also helped provide one of the best Iago’s for years.