Abstract
This article explores the relationship between Braham Murray's 2002 production of Othello at the Royal Exchange in Manchester and civic spectacles associated with the XVIIth Commonwealth Games held in the city that summer. I explore how Othello was both a part of Manchester's post-terrorist rebirth and a dissonant voice in the city's promotion of itself as a successful and harmonious civic entity. Murray's production called into question the nature of theatrical spectacle and remembered the terrorist bomb which had destroyed the Royal Exchange in 1996. The article also looks forward to the 2012 London Olympic Games and the World Shakespeare Festival.
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