You have until Oct. 13 to catch William Shakespeare’s Othello at the Mirror Theatre, 5th floor of the SJG Building, Kalayaan St., Poblacion. Directed by Nelsito Gomez, the Cast PH adaptation puts a modern spin on the much-loved play and springs several surprise changes to the text.

Reb Atadero takes on the role of the scheming Iago, and Tarek El Tayech assumes the titular role. Portraying Desdemona and Emilia are Gab Pangilinan and Maronne Cruz. For those familiar with the tragedy, it’s often said that despite having Othello in the title, the real star of the play is Iago. This production reinforces that view, and kudos to Atadero for putting the play on his back, with support from the rest of the cast.

In this Othello, Iago is a cocaine-fueled schemer, out to bring the usurper Moor down, and take no prisoners in his machinations to place himself top and center of the events that transpire within the narrative. He raps when asked to sing, he uses people like Rodrigo and his wife, Emilia indiscriminately, and exhibits no compunction when achieving all this.

I especially loved the first half of the drama; and how Nelsito played with the text, taking liberties here and there - liberties that worked wonderfully. The chemistry between Iago and Rodrigo services as a wonderful counterpoint to the relationship between Iago and Othello. And the foreshadowing of violence against women is exhibited in the exchanges between Iago and Emilia. And I appreciated how Tarek was allowed to use an Arab accent to accentuate how there was a Moor in the midst of all these Italians. It would help us understand why there is resentment towards him from certain parties and how Othello pokes them in the proverbial eye by even marrying the daughter of one of the city’s noblemen.

There are many things to like in the first half. And so, to be very honest, I was surprised with how things weren’t as tight and controlled in the second half. Some changes to the text befuddled me (no spoiler here, but I’ve always viewed Othello as one of Shakespeare’s more cynical plays, touching on how evil prospers and survives). And I have this thing about characters continuing to talk in their death throes - so if you’re going to cut some things, please let it be people declaiming after they’ve been fatally shot or stabbed.

But ultimately, I welcome any staging of the Bard. They’re not textbooks meant to be read as part of an English Literature course but should be performed to be better appreciated. Any effort in that direction gets my approval and deserves our unabashed support!