The Thrust Stage: Modeled again on the environment Shakespeare himself acted, the theatre's thrust stage literally thrusts the action into the seats. This furthers the audiences association with Othello's pain and Iago's deceit as well as allowing genuine separation between characters talking away from each other; Othello is able to stay upstage, partially hidden, as Iago and Cassio discuss Bianca.

Acting Levels and Entrances: The theatre employs nine different levels for acting, some minor such as the steps at the front of the thrust stage, some larger such as the upstage balcony. The concept of rank is naturally depicted through the use of these levels. The beginning of the play shows the natural social order with the Duke above Othello who is above Cassio and so on. However, as the play progresses, Roderigo and Cassio, then Othello begin to appear lower especially in their relationships with Iago. This change in power is highlighted by Iago's actions themselves on stage but the different levels act as a constant reminder as to where power lies in the play. Additionally, the balcony serves as a necessary perch for Brabanzio in the first scene and can be used to accentuate distance between characters (such as Othellos spying of Cassio with Desdemona) as well as the beginning of Act II, scene I when the stage instructions call for "Enter [below] MONTANO, Governor of Cyprus; two other GENTLEMEN [above]".
The eight entrances of the theatre provide ample opportunity for the many escapes in Othello. Roderigo can easily escape Cassio at first, Othello can realistically spy on Cassio's description of Bianca, and Iago is able to legitimately appear to be sneaking around. The trapdoor also allows the demonic elements of Iagos character to be played with; he can rise from (or disappear to) the depths creating a supernatural aspect to his evil. Othello too can rise as he prepares to kill Desdemona a move symbolic of his transformation (Desdemona's bed itself would likely also be brought onstage via the trapdoor).

Costume: see Artwork

Lighting: Shakespeare's plays were performed with necessary consideration given to daylight. Beginning at roughly two in the afternoon, the plays had to be completed before it became impossible to see. When performing indoors the plays were performed by candlelight and thus seemed dark for the most part.
Despite not having Elizabethan restrictions in the Festival Theatre, much of Othello can be performed in dim to dark settings. First of all, many of the scenes take place at night including all of Act I, the party upon arrival in Cyprus and, depending on interpretation, a large part of the rest of the play. Indeed, the characters are continually looking for light to enable better vision. Iago makes plans to inform on Othello by "night and negligence" (I.i.76). Startled by what he has heard, Brabanzio calls for his servants to "Strike on the tinder, ho/ Give me a taper / Light, I say, light!" (I.i.141). "O, help, ho! Light, a surgeon" (V.i.31) Cassio calls after he has been stabbed by Iago who himself enters a dozen lines later "with a light". Although nearby, Lodovico and Graziano are quite useless until the light comes the "heavy night" (V.i.43) too much for them. Finally, Act V, scene ii begins with the entrance of "OTHELLO with a light". However, this is counterproductive, he must "Put out the light, and then put out the light" (V.ii.7), that is, he can only kill Desdemona in darkness.

Sound effects: Although Othello lacks the endless flourishes and storms of Hamlet and Macbeth, sound effects are nonetheless important in establishing the moods of the play. When Montano awaits the Venetians on the shores of Cyprus nature can be heard as the "wind hath spoke aloud at hand" (II.i.5), "The chidden billow seems to pelt the clouds" (II.i.12) and Cassio's ship arrives through a "foul and violent tempest" (II.i.34).
Later that night, the sounds of reveling fill the stage as a fine party is held in the Cypriot citadel. Iago's song is likely to be accompanied by music and boisterous enjoyment makes up the offstage and background noise. Additionally, though unmentioned in the text, given that much of the play takes place throughout Cyprus, the sounds of Cypriot nightlife should accompany the conversations of Iago and Roderigo among others.