[4] Her work include Branden Jacobs-Jenkins' Appropriate, her full directorial debut,[2] Anna Deavere Smith's Twilight: Los Angeles, 1992, Danai Gurira's The Convert and Aleshea Harris' Is God Is in 2021.
Despite its occasional clumsiness, Ince’s vision is more nuanced than many attempts to give a ‘relevant’ spin to the Capulet-Montague feud.
"[11] The Guardian said "This is a high-stakes rewiring of Romeo and Juliet with so much energy and cleverness at play that the romance is barely missed at all.
"[12] The Times said "Like an over-eager English teacher out to prove that Shakespeare is “relevant” to modern youth, this Romeo and Juliet underscores the story’s issues while failing to give the sort of life to the human drama that would make them matter.
In this version, Othello (Ken Nwosu) is an officer in the Metropolitan Police, and his subconscious is a separate character (Ira Mandela Siobhan).
At over three hours, the tension drops, although the play never loses its potency and offers a genuinely new, exciting experience.
"[20] The Times said "The signposting isn’t quite as crude in this modern-dress production, but Ince’s desire to make the piece more accessible still leads to some jarring moments.
This sparklingly clear, at times thrillingly pacy production convincingly argues that Othello is as much a play about men who kill women as it is about race.
"[21] The Evening Standard review concluded that "I was compelled throughout, though, and believed in Othello's duping and his descent into madness, which isn’t always the case.
I have an ex-cop friend who claims the Met is not as bad as the media paints it, but Ince's vision feels horribly credible.