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Othello (International) assertion single work   drama  
This international work is included in AustLit to identify a relationship with Australian literature.
Issue Details: First known date: 1604... 1604 Othello
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Othello Jason Klarwein , 2020 single work drama

'1942, and the Imperial Japanese Navy is bearing south. The bold Captain Othello and his battalion of the Far North Queensland Regiment are all that stands in their way. But off the battlefield, Othello’s life is far from simple. He’s just secretly married the daughter of a wealthy cane farmer, and an envious, spurned suitor has joined forces with a disloyal and resentful officer in a deadly plot to bring down the renowned military hero, at any cost.

'William Shakespeare’s classic tale of jealousy, betrayal and revenge is thrillingly re-imagined by Jason Klarwein.'

Source: Queensland Theatre Company.


  • Othello is included in AustLit because it was produced in Australian theatres during the colonial era; and/or is the subject of Australian literary comment, adaptation or creative writing.

Production Details

  • First produced at Whitehall, London, 1 November 1604.

    Source: Oxford Companion to English Literature (1985)

  • Performed at the opening of the Royal Victoria Theatre, Sydney, New South Wales, 26 March 1838.

  • Performed at the Prince of Wales Opera House, Sydney, February 1868.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Who Killed Desdemona? Scott Alderdice , 2018 single work drama
— Appears in: TEXT Special Issue Website Series , April no. 48 2018;

'Despite widely documented innovations integrating theatrical approaches into secondary school in-classroom engagement with the works of Shakespeare, evidence remains that students and teachers struggle with applying those techniques to the pedagogy of interpretation. Who Killed Desdemona? introduces a clown-based approach to an interpretation of Shakespeare’s play, Othello, within a school familiar setting. The screenplay is undergirded by the theories of John Dewey and Jerome Bruner in scaffolding collaborative processes of situated and authentic learning, and integrates the social and peer-learning paradigms of Lev Vygotsky and Etienne Wenger. The screenplay introduces clown-based play and interactivity with both text and live/video attendant audience in negotiating a process of performance-in-rehearsal, where the clowns critically and irreverently unpack and interpret Shakespeare’s text through intermittent discourse and enactment.'  (Publication abstract)

A Legal Saga Worthy of the Bard Natasha Robinson , 2014 single work column
— Appears in: The Australian , 21 May 2014; (p. 7)
Statespeare Nelle Lee , 2012 single work drama humour

'Studying Shakespeare Suckeths

'STATESPEARE', the Helpmann Award-nominated show that audiences (of all ages) across the country adored, is back and Barder than ever… For two nights only!

'Is Shakespeare still relevant? It’s the first rehearsal for the year 12’s Performance Task and Lachlan and Nerys know that with their knowledge of The Bard they cannot fail. Their allocated group members Jay and Rob don’t know the difference between Shakespeare and Schwarzenegger.

'As this mismatched foursome battle it out on the drama room floor they surprise and shock themselves as they gain a greater understanding of Shakespeare’s most famous plays including Macbeth, Romeo & Juliet, A Midsummer Night’s Dream, Titus Andronicus, Much Ado About Nothing, Othello, The Taming of the Shrew and Hamlet.

'Fast-paced and hilarious, don’t miss this very special opportunity to catch STATESPEARE as part of the 2013 Inaugural QLD Youth Shakespeare Festival. The Festival gives high school students the chance to compete against other talented Shakespeare fans for the chance to be part of a live Shakespeare stage show. The general public is encouraged to come along to the finals and see the students competing for this exciting opportunity.

'Originally co-produced with La Boite Theatre Company.' (Source: Brisbane Powerhouse website)

'I Find Myself in Shakespeare' : Shakespeare, Race and National Identities Philippa Kelly , 1998 single work criticism
— Appears in: Coppertales : A Journal of Rural Arts , no. 5 1998; (p. 95-104)
Bobby J's Modern Othello Den , 1934 single work short story
— Appears in: The Herald , 23 June no. 17817 1934; (p. 6)
Theatre 1838 single work review
— Appears in: Commercial Journal and Advertiser , 10 November vol. 4 no. 318 1838; (p. 2)

— Review of The Battle of Hexham George Colman (The Younger) , 1789 single work drama ; Othello William Shakespeare , 1604 single work drama
Royal Victoria Theatre 1838 single work review
— Appears in: Commercial Journal and Advertiser , 28 March vol. 4 no. 253 1838; (p. 2)

— Review of Othello William Shakespeare , 1604 single work drama ; The Middy Ashore William Bayle Bernard , 1836 single work musical theatre

Review of performances at the Royal Victoria Theatre on 26 March 1838.

The Theatres, &c. Jaques (fl. 1866-1868) , 1868 single work review
— Appears in: The Australasian , 9 May vol. 4 no. 110 (New Series) 1868; (p. 594)

— Review of The Lady of Lyons; or, Love and Pride Edward Bulwer Lytton , 1838 single work drama ; Macbeth William Shakespeare , 1606 single work drama ; Othello William Shakespeare , 1604 single work drama ; The Merchant of Venice William Shakespeare , 1594-1597 single work drama ; Under the Gaslight ; Or, Life and Love in These Times John Augustin Daly , 1867 single work drama

Jaques reviews productions of Lady of Lyons, Macbeth, Othello and The Merchant of Vencie at the Theatre Royal, and Under the Gaslight at the Duke of Edinburgh Theatre, focusing particularly on the quality of the acting.

The Recording Angels Ronald Finlayson , 1916 single work short story humour
— Appears in: Lady Galway Belgium Book 1916; (p. 81-82)
Bobby J's Modern Othello Den , 1934 single work short story
— Appears in: The Herald , 23 June no. 17817 1934; (p. 6)
[Untitled] 1867 single work column
— Appears in: The Ballarat Courier , Monday, 26 August no. 67 1867; (p. 2)
  • Theatre lovers will have the chance to see the tragedian, Mr James Anderson, perform as Othello this evening. Mr Anderson has won acclaim in England and has been performing in Melbourne. Although he attracted some 'narrow-minded and one-sided' criticism, the writer is sure he will please Ballarat audiences, 'who generally patronise true merit'.
  • Bachelder's diorama has become so popular that many patrons were unable to gain admittance on Saturday night. This evening's entire proceeds are being donated to the hospital and the two asylums. Mr Bachelder is giving a number of performances especially for children and children from the Benevolent and Orphan Asylum will be admitted free to his Wednesday afternoon performance.
Theatre Royal : Mr Anderson as Othello 1867 single work review
— Appears in: The Ballarat Courier , Tuesday, 27 August no. 68 1867; (p. 3)
A lengthy and detailed review of Mr Anderson's portrayal of Othello. While largely favourable the reviewer feels that Mr Anderson displayed an indiscriminate use of 'declamatory power' in some of the scenes. He commends other actors in the performance, although he states that the casting of Desdomona was a mistake.
Theatre Royal : Othello 1867 single work review
— Appears in: The Ballarat Courier , Wednesday, 28 August no. 69 1867; (p. 2)
A further review of Othello. Although giving credit to Mr Anderson's performance as a whole, the reviewer believes that Mr Anderson continues to be 'too robust', particularly in scenes that require the expression of pathos. He praises Mr Heir's Iago and reprimands the audience, failing to see why any aspect of Iago's character should 'excite the laughter of the gallery and the titter of the boxes'.
Last amended 19 Nov 2014 15:42:18