An operatic rarity by Donizetti comes to the University of Warwick Arts Centre when English Touring Opera presents his Wild Man of the West Indies on Thursday, April 23.

Set in a slave plantation on the island of San Domingo (nowadays the Dominican Republic and Haiti), the story takes elements from a lost Shakespeare play, Cardenio, and an episode in Cervantes’ novel Don Quixote.

The director is Iqbal Khan, whose many previous credits include The Killing of Sister George, Othello, East is East (for Birmingham Repertory Theatre), Scott Joplin’s opera Treemonisha, and Puccini’s Madama Butterfly- all these, as well as others, dealing with oppression and discrimination in some form.

Is this a crusade for him, I ask?

“I’m not sure I agree that discrimination has been in any way central to most of my work, but it certainly has been a part of the elements explored in some,” he says.

“As for ‘crusades’, I’m afraid I find the word objectionable. It connotes the worst of attachments to an ideology and cause. I would rather say that at the core of work that charges me is the exploration of identity – those things that identify us to others and those that alienate us, how we both value ourselves and find significance in things.

“Having said that, I’ve always embraced the vitality and surprising joy a great piece can give.”

This year Iqbal revisits Othello for the Royal Shakespeare Company, the great tragedy of jealousy and racial prejudice, and which in recent decades has stirred up controversies about whether it’s politically correct for white actors to be blacking-up in order to play the title-role. At the moment the days of Sir Laurence Olivier’s amazing performance for the National Theatre in the 1960s, even dropping his voice by an octave, are long gone.

Iqbal Khan

Iqbal has interesting thoughts on the issue.

“I think it’s difficult at the moment, but there should be no rule about these things. So long as there is a sensitive and strong conviction about how to do a play, I wholeheartedly support the right to share it.

“However, there’s a lot of imbalance that needs righting. I’m less interested in the colour of Othello and more in allowing and seeing all colours play Lear, Macbeth and Hamlet! In this production we are interested in looking at the domestic betrayal and linking it to the wider political betrayal Othello experiences.”

And then he reveals a huge surprise in describing how the traditionally white, Othello-hating villain will be portrayed.

“In casting a black Iago all conventional and complacent responses to the piece are impossible!”

We move on to discuss this rare Donizetti opera, and Iqbal admits it was as unknown to him as it is to me.

“I was only introduced to this opera when James Conway, the general director of English Touring Opera, approached me to direct it. I have an immense admiration for ETO, with its ambition and integrity. The company’s aim to get opera out to the widest possible audience is something I’m very proud to be a part of.

“I don’t think there is any formal relationship between the Donizetti and the play. I’m not even sure Donizetti will have known of the existence of the Shakespeare treatment. They are both inspired by an episode from Cervantes’ Don Quixote.

“Working on the piece I found it a constantly surprising and effective work. The shift of tone between the black slave Kaidamà’s ironic and admirably sane commentary on the extremes of the central melodrama and the complexity of the ‘wild man’ Cardenio’s madness is always thrilling. The piece has great music, the first treatment I know of in opera of a black character with genuine humanity and wit and, in Cardenio, one of the great parts for baritone. I know audiences have been incredibly enthusiastic and I hope there will be a wider audience for this neglected treasure.”

And we end by reminiscing about Iqbal Khan’s Birmingham connections, about which he is very frank.

“I was born in Birmingham and studied at Washwood Heath, before winning a scholarship to do my A-levels at King Edwards, Edgbaston,” he remembers. “I’m afraid I found Birmingham a bit grim growing up and longed to get away.

“However, over the last 15 years or so I have seen it grow into one of the most exciting and vital cities in the country. I’ve directed at the wonderful Rep and the Mac. The new Rep build is a brilliant achievement and Symphony Hall one of the great concert halls in the world – the first place I ever heard classical music live; Rattle with the CBSO, playing Mahler! Any chance I have I would love to return and work here.”

English Touring Opera performs Donizetti’s Wild Man of the West Indies at Warwick Arts Centre on Thursday, April 23.

Puccini’s La Boheme is at Warwick Arts Centre on April 24 and 25.