THE ACTING WAS EXCEPTIONAL THROUGHOUT

By Molly Hayes | Molly Hayes ⭐⭐⭐⭐ | Press Invite

A classic Shakespearean tragedy about jealousy, manipulation, and betrayal, Othello has been reimagined countless times. Directed by Tom Morris, this new production at the Theatre Royal Haymarket had the daunting task of offering a fresh take on such a canonical play. Thankfully, it succeeds.

Ti Green’s minimalist set design was very effective, featuring large gold frames that are dramatically swept away during the stormy battle for Cyprus, followed by translucent panels used for projections. P J Harvey’s brooding music also adds to the ominous atmosphere and sense of unease. Furthermore, the physical violence depicted on stage was impressively and realistically choreographed by Kate Waters. Each blow and stab exchanged between characters made me wince, and the moment where Othello strikes Desdemona elicited gasps from the audience.

The acting in this production was exceptional throughout. David Harewood reprised the same role he was the first black British actor to play in 1997, and what a striking return he made. His portrayal of Othello becoming increasingly poisoned by jealousy was remarkable to watch. Toby Jones’ Iago was devilishly conniving, and I enjoyed his slyness and feigned honesty, which was referenced ironically multiple times and laughed at by the audience.

Caitlin Fitzgerald as the tragic victim Desdemona was confident, foregrounding the character’s innocence without coming across as sickly. Vinette Robinson’s performance as Emilia was mesmerising upon realising her husband’s betrayal at the end of the play, and her cynicism in the famous soliloquy was thoroughly enjoyable. Luke Treadaway was charismatic and delightful as Cassio, and I must commend Tom Byrne for his comedic performance as the bumbling Roderigo.

I was interested to see how Morris’s rendition of Othello would tackle the racial dimensions, especially given the current political climate. While the racist language used in the play is still shocking, I felt the theme of racism wasn’t as central as I anticipated. This surprised me, seeing as the misogyny experienced by Desdemona and Emilia is explored so sensitively. Overall, Tom Morris’s take on Othello is an engaging, wonderfully acted West End production. However, it could’ve benefited from delving deeper into the play’s racial themes.

Othello is running at Theatre Royal Haymarket until Saturday 17 January.

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Photo Credit: Brinkhoff/Mögenburg