Founded in 1994 by Scott Graham and Steven Hoggett, Frantic Assembly has a solid reputation for giving highly physical spins to new writing. No surprise, then, that this popular British company’s first stab at Shakespeare — indeed, its initial crack at a classic text — is trimmed down, pumped up and spoiling for a fight.

Frantic’s Othello is set in a West Yorkshire working-class pub (designed by Laura Hopkins) where Jimmy Akingbola’s Moor rules the roost. A pool table sits centre stage, while a fruit machine flashes its coloured lights just outside the ladies’ loo into which he and Claire-Louise Cordwell’s friendly, feisty Desdemona pop for quick sex.

Functioning as co-directors, Hoggett and Graham’s adaptation conjures the rough hierarchy of the setting from the outset, via a wordless prologue featuring cue-wielding choreography, plus a hoodie-clad brawl that spills out into the back alley behind the pub’s corrugated walls. In such testosterone-heavy territory a man’s reputation counts for a lot and a woman knows her place — but has to be able to hold her ground.

The result is a commendable Othello that is ultimately more intriguing than compelling. The performance moves in fits and starts, its forward momentum occasionally hindered by Frantic’s habit of hiking up the part-clubby, part-cinematic soundtrack (a good one by a duo called Hybrid) as the characters slip into moves that blend quasi-gymnastics with street steps. The Bard’s take on sexual jealousy, even when modernised, needs to be about more than just body language.

The actors handle their double duties with aplomb. Akingbola’s sense of command is spot-on, even if the aching core of Othello’s gnawing doubts over Desdemona’s fidelity is yet to be exposed. As the plot’s poisoned engine, Iago (Charles Aitken) is a lean, vulpine figure whose public sincerity effectively masks sneering cunning.

Cordwell is a forthright and sympathetic Desdemona, her portrayal bolstered by that of Leila Crerar as Emilia. Their “girl talk” in the loo while sharing a fag is one of the most incisive scenes. Crerar builds upon it impressively in her response to learning both of her mistress’s murder and her husband’s treachery.

Box office: 01752 267222 To Sept 27, then touring: www.franticassembly.co.uk

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