By CLAIRE STEVENS
Whether you are a Shakespeare fan, a football fan, or a proud Pittsburgher, Othello of the End Zone, or The Steel City Tragedy, presents a show packed with humor, emotion, and fun Pittsburgh references. Inspired by Shakespeare’s Othello, the play follows Imani Othello (Cynthia Dallas) as she navigates the challenges of being the first Black female football coach in the national league. As she faces the demands of this new role, she must also balance her responsibilities with her secret marriage to the team’s star player, Desmond Mitchell (Michael Patrick Trimm), and the disapproval of his father, Mr. Mitchell (Kevin McGuire). When new opportunities separate Othello from Desmond and her fellow coach, Micahela Cassio (Emily King Brown), her friend Jacob Iago (Maxwell Hayden Medford) steps in to help, but his good intentions are not what they seem.
The set designed by Lisa Harshbarger and Adalgisa Bosonetto set the stage for an immersive performance as soon as I walked into the theater. Fitting multiple settings simultaneously into the theater space allowed for the scenes to transition seamlessly and kept the audience engaged in the story. I also appreciated that the show was split into quarters and played like a football game, which was a good nod to the acts and scenes that divided the Shakespeare work the show was based on. The transitions between scenes also featured quotes from football players and coaches that related to what was happening in the show, along with upbeat music and video selected by Wayne Gaines and Shannon Knapp in sound design and projections, respectively. These elements, along with the creative crew’s hard work, provided a smooth playing field for the actors and effects to enhance their performance.
Dallas delivered a strong opening as Othello, and she portrayed a confident, headstrong character throughout the show. She realistically depicted the struggle of losing control and brought valuable insight to the stories of women, and especially women of color, reaching to break the glass ceiling. She brought excellent intensity to her argument with Brown as Cassio, and both women played off each other to deliver an intense, emotional scene. Dallas’s character also interacted well with Trimm as Desmond, and their conversation in the second half of the show provided more context to the struggles that Black women leaders face. Trimm and Brown also had great chemistry and shared a charming scene of connection while poking fun at the Cleveland and Cincinnati football teams, which resonated with the audience. Overall, these three actors had strong portrayals of their characters and connections with each other in their respective scenes.
I found Medford as Lago to have a strong command of his character in retaining a sly quality throughout the show. He also skillfully manipulated his character to appeal to different people throughout the performance and drive the plot. He also brought a lot of humor through his reactions to different events and his comical reading of the Cincinnati football team headlines. Additionally, the O-Line actors Richard McBride, Ryan Rattley, and Desmond Jackson contributed to funny scenes through their chanting and portrayal of Othello’s inner thoughts. I liked how they warmed up on the sides or did push-ups before the show even started to really immerse the audience in the space. McBride also performed well as Jameson/Journalist and Rattley as Journalist. Finally, Kevin McGuire gave a standout performance as Mr. Mitchell, heightening the intensity of his scenes and his character’s protectiveness toward his son.
New Hazlett Theater’s co-production of this play with the DEMASKUS Theater Collective allowed for an insightful modern twist on Shakespeare’s Othello. Its connection to the story of Collette V. Smith, the first Black female coach in the NFL, along with other Black women leaders, honors their successes and encourages us to build a community where people can achieve their dreams without unfair barriers.
Written by Franky D. Gonzalez and directed by Shaunda Miles McDill, Othello of the End Zone, or The Steel City Tragedy, inspires audiences not to play it safe but to make the bold choice.
TICKETS AND DETAILS
Othello of the End Zone or The Steel City Tragedy, co-produced by DEMASKUS Theater Collective and New Hazlett Theater, has performances October 22 – 25, 2026 | https://ci.ovationtix.com/36406/production/1291006
Categories: Arts and Ideas, Reviews
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