★★★★★

“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.

OTHELLO at the Riverside Studios

★★★★

“the interpretation is a quick-fire and vibrant rendition”

This new take on Shakespeare’s tragedy of race and jealousy comes with quite the twist: the role of Iago is played by three different actors simultaneously. The first question that comes to mind is, why? One has to suppress the faint rising wave of scepticism as the auditorium fills up around us. There is no set whatsoever, and the feeling that this might be some sort of drama exercise is foremost in our minds. It doesn’t take long, however, for this trepidation to be completely eradicated by Sinéad Rushe’s fresh take on the play.

Even without the added theatrical device (which they term polyphonic characterisation), the interpretation is a quick-fire and vibrant rendition. The empty playing space allows us to focus on the performances which are uniformly strong among this small company. With a finely honed physicality and harmony within the cast, no backdrop is needed and, indeed, with the clear-cut pruning of the text no background is needed – such is the clarity and succinctness of the delivery.

The cast are huddled around an acoustic guitar, their own bodies percussion instruments; from which Desdemona (Rose Riley) breaks away and dances unrestrained around the space. An atmospheric opening, but the one (and only) time we do question the dramatic choices.

From the off, Martins Imhangbe is an impressive and imposing Othello. His strong demeanour is quietly controlled, sometimes a touch too soft and vulnerable, before the bemused rage finally breaks through. Riley breaks away from the stereotypical Desdemona, refusing to come across as pure and meek. Instead she is self-possessed but respectful of Othello despite the incomprehensibility of his jealousy, almost to the point of tenderness. Her rendition of the “Willow” song is particularly poignant and beautifully sung. Ryan O’Doherty is a charismatic Cassio, a bit of an enigma, keeping his true feelings under wraps beneath a trusting exterior. Not so Emilia, Iago’s wife, whose distrust and fiery outspoken cynicism is brought to vivid life in Rachel-Leah Hosker’s striking performance.

“This is a show where atmosphere is predominant”

Which brings us to Iago, and the focal point of the production. During the performance, though, the reasoning is immaterial. It ceases to be a question as it works so well dramatically. Michael C. Fox, Orlando James and Jeremy Neumark Jones are all exceptional. Individual, yet merging into one character; they are both a chorus and a trio of separate characters. They become co-conspirators, negotiating among themselves. They surround their victims, sometimes in whispers, sometimes in storms. The effect is often chilling as one man’s voice can be heard echoing in triplicate from three different spaces. Iago no longer addresses the audience, which in turn increases the impact. It is a complex and risky scenario, but in the three actors’ hands it is pulled off to immense effect.

The threatening and menacing atmosphere is sustained throughout by Ali Taie’s percussive and sinister soundscape, along with Alex Lewer’s starkly effective lighting. This is a show where atmosphere is predominant, even though we are invited also to consider the racial and political reasoning behind Rushe’s choice of the three Iago’s. Traditionally Iago draws the audience in and coerces them into being complicit in Othello’s downfall. This is no longer the case. Yes, we are aware of the device but not on an intellectual level. It is a thrillingly innovative approach, but we are so wrapped up in the performances that we forgo analysis in favour of relishing each moment, right up to the tragic and, in this production, quite plaintive ending.

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

OTHELLO at the Riverside Studios

★★★★

“the interpretation is a quick-fire and vibrant rendition”

“This is a show where atmosphere is predominant”