★★★★★

“gorgeous to look at and stunningly staged”

Shakespeare’s “Othello” is categorised as a tragedy. After all, the full title ‘The Tragedy of Othello, the Moor of Venice’ puts it in that box, although it has often been argued that it is not so easy to pigeonhole. While not specifically a ‘Problem Play’, it always has been problematic, due to its controversial and complex issues – particularly regarding race and misogyny. However, there is no problem whatsoever with Tom Morris’ beautifully and stylishly directed revival which captivates throughout, focusing more on the troubled motivations of an unhinged protagonist and his antagonist, Iago.

David Harewood is an imposing Othello with an implicit vulnerability, the degree of which he portrays with an understated precision. Morris makes explicit Othello’s epilepsy, but it is Harewood who manages to convey that there is much more going on under the skin. This play is less about the blackness of his skin than the greenness of the eyes. The monster looms large, drawing audible gasps from the audience at the key moments of violence. Toby Jones, as a deliciously impish Iago, steals more than his fair share of jealousy too. In turn, he shares his resentful and covetous secrets with the audience while manipulating his victims. A show-stealing, darkly mischievous performance that amazingly manages to tease out perverse comedy with impeccable timing; but still be pretty creepy too.

The timeless quality is enhanced by Ti Green’s use of modern costume, set against her opulent, regal backdrops that could belong to any era. The gold trimmings of the theatre’s auditorium stretch to the back of the stage in the shape of gilded picture frames that slip away to reveal the bed on which the murderous climax takes place. Richard Howell’s lighting creates suitably unsettling moods, softening us with warm coppers and cobalts, before shattering our complacency with crashes of white. PJ Harvey’s music (composed with Jon Nicholls) bubbles underneath, often unnoticed and subliminal; unnerving yet still magnificently stylised.

Caitlin Fitzgerald’s Desdemona matches the grandeur. Regal in stature she fights back at her husband’s powerplay with a stillness and strength that (almost) conceals her fear of her own inevitable fate. Video projections reveal the dual emotions in her eyes up close – a fitting omen for the final tragic scenes. It is in these scenes that the peripheral characters take centre stage too – notably Vinette Robinson’s Emilia, the wife of Iago, who breaks out of her subservient pragmatism to deliver lines rich with emotion. Luke Treadaway, as the easily led, hard-done-by Cassio, is impressively charismatic, mixing gallantry and gullibility in explosive measures. Tom Byrne, as Roderigo, adds a lighter touch. Another pawn in Iago’s great scheme, he is more of a fool for love, allowing himself to be easily manipulated.

The whole story is crystal clear, each actor masterfully enunciating Shakespeare’s text and projecting to the rafters with ease. The only slight quibble is that the writing is, at times, a bit long-winded, to say the least. But who’s going to argue with the playwright? This slick production swiftly steers through the soliloquies to stab at the unpalatable truths of human nature. Shakespeare may have written ‘Othello’ surrounded by different principles and outlooks in society, but Morris and company take his words and speak to us in a modern setting with just as much urgency. The show is gorgeous to look at and stunningly staged. Pacy and provocative, filmic and theatrical, full of dark humour and darker candour. Compelling, chilling and thrilling; and staged with the choreographic fluidity of a ballet.

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

In case you’ve been living under a rock, this show is a Covid delayed U.K. premiere of the smash hit US musical, based on the hugely successful film of the same name.

The plot sticks closely to the film. Cady Heron (Charlie Burn) is a new kid at an American high school, having been home schooled in Kenya up until now. She must choose between authentic outsiders, Janis (Baylie Carson) and Damian (Tom Xander), or the poisoned chalice of popularity that comes with being one of ‘The Plastics’. The romance plot is more central than in the film, with Cady’s main motivation being her infatuation with fellow calculus student Aaron (Daniel Bravo).

Mean Girls marks another in a current trend of film to stage adaptations, which seem to be driven, at least in part, by the temptation of an existing fan base. Certainly, as I join a small army of pink clad women (it’s a Wednesday, so we’re all wearing pink) marching towards the theatre, this plan seems to have paid off.

There’s a worry it will feel like a soulless shell of the film. But it doesn’t. The book, written by Tina Fey, who wrote and acted in the film, is smart and witty. It’s updated, with fresh and current jokes (references to Ozempic and Get Ready with Me videos) but keeps the fan favourite one-liners from the film. With clever lyrics by Nell Benjamin and music written by Fey’s husband Jeff Richmond, the show delves further into these characters who are beloved by the fan base.

The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it. Each character has a different musical style which allows the actors to stand out, each thriving in their niche.

Tom Xander as Damian is wondrously campy and fun. Every moment with him is a scene stealer. At one point he steals a mobility scooter, which results in some glorious physical comedy. Baylie Carson smashes it as Janis, standing in for Elena Skye for this performance. It’s a tricky part and they own it, giving Janis her own flair amongst bigger more flamboyant characters. Georgina Castle as the iconic Regina George is fabulously evil, Disney villain meets Instagram influencer. She has a captivating stage presence. Grace Mouat as Karen has fabulous comic timing, and her physical comedy is on point. Also, Zoë Rainey as all three of the ‘grown up’ women dazzles in her multi rolling, turning each caricature up to the max.

Scott Pask’s set design combined with Finn Ross and Adam Young’s video design is as much a nod to the film as the plot. Settings are projected onto huge screens, calling into question that line between film and theatre. Sometimes it’s backdrops, sometimes photos of the cast, of the Burn Book, and sometimes (like in a brilliant evocation of a photocopier) it’s a theatrical wonder. It doesn’t do it for me, but it does feel fresh.

Under this show’s joyous silliness, there’s an important message about female solidarity. It would be interesting to know how it plays for people who don’t know the film. But for fans, and there are many, it’s a delicious night of fetch-y fun.

OTHELLO

Theatre Royal Haymarket

★★★★★

“gorgeous to look at and stunningly staged”

OTHELLO

Theatre Royal Haymarket

Reviewed on 4th November 2025

by Jonathan Evans

Photography by Brinkhoff/Mögenburg

Previously reviewed at this venue:

OTHELLO

OTHELLO

OTHELLO

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

MEAN GIRLS at the Savoy Theatre

Reviewed on 10th July 2024

by Auriol Reddaway

Photography by Brinkhoff/Mögenburg

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MEAN GIRLS

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