In this contemporary re-imagining of Othello from the point-of-view of Desdemona three characters play out scenes of love, suspicion, domestic violence and morbid jealousy (the ‘Othello Syndrome’) within an inter-racial context. As they are all professional actors they construct and perform themselves, their lives and relationships trapped within the theatrical contexts of Shakespeare’s Othello; Strindberg’s misogyny and morbid jealousy (in Miss Julie and The Father); Ibsen’s ‘feminism’ (in Hedda Gabler and The Doll’s House). Thus trapped, do they perform themselves within this ubiquitous Western cultural frame or or does it, in fact, perform them?