★★★★★

“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.

NOUGHTS AND CROSSES

Regent’s Park Open Air Theatre

★★★

“what could be a gripping, nail-biting production is brought away from the cliff edge by the proclamatory style of the writing”

Malorie Blackman’s series of novels, headlined by the opener “Noughts and Crosses”, describes an alternative, present-day reality in which the controversial subject of racial power is turned on its head. The premise is explored through a tale of forbidden love in the vein of ‘Romeo and Juliet’. The two teenage protagonists are from opposite sides of the social divide in Blackman’s young adult fiction. The target audience is apparent in Dominic Cooke’s stage adaptation which has gone straight for the bull’s eye; and therein lies both its strengths and its weaknesses.

Society is divided into the subservient Noughts – the white underclass; and the Crosses – the privileged black people who hold the power. Like the novel, the story is told through the eyes of Sephy (Corinna Brown) and Callum (Noah Valentine). When their innocent childhood friendship grows into a blossoming romance it drifts into dangerous territory – Sephy is a Cross while Callum is a Nought. Furthermore, Sephy’s father is running for Prime Minister while Callum’s father, and elder brother, are embroiled in freedom fighting, plotting terrorist attacks under the banner of the Liberation Militia.

Directed by Tinuke Craig, the storytelling is exceptionally clear – with Brown and Valentine intermittently speaking out to the audience, pointing out major plot turns with their slightly false-sounding street patois. When not involved in the scene, the entire cast watch from the sidelines; silently observing, and judging, ready to jump in if needed to either calm or exacerbate the situation. Colin Richmond’s harsh metallic, multi-layered set gives the gritty backdrop required for this urban fable, although a touch incongruous against the lush greenery of Regent’s Park which it ignores rather than tries to incorporate. Max Pappenheim’s powerful sound design provides the tension and menace, aided and abetted by Joshua Pharo’s lighting. Nevertheless, what could be a gripping, nail-biting production is brought away from the cliff edge by the proclamatory style of the writing. Often too simplistic, the issues come across as overly black and white (pun intended).

Despite the lack of nuance, Brown and Valentine give persuasive performances, pitching well the impulsiveness and impetuosity of star-crossed lovers. Even if you don’t know the outcome, you get the sense of impending tragedy. Alec Boaden, as Callum’s brother Jude, is thuggish and menacing, while Richard Riddell as their father wraps his iron fist in a protective glove which, while allowing some sympathy, doesn’t condone the family’s violent drive for insurrection. Meanwhile, Sephy’s parents are portrayed more simplistically, leaning into caricature.

There is limited emotional engagement, even though it is very watchable with some great flourishes of style. Cooke has managed to keep it relevant and up to date while throwing in some subtle parallels with Shakespeare. A pseudo balcony scene is neatly hemmed in, and touches of comedy provide much needed comic relief. Even, in the bard’s true fashion, the climax seems rushed with seemingly last-minute knots being tied up. The message remains unresolved, but the ideas that pave the way are a dynamic and potent series of stepping stones. The journey is made less perilous, though, by the overstated delivery. It is the perfect show, however, to draw in a new, younger audience and it is certainly a triumph in demonstrating the raw power and necessity of theatre.

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

NOUGHTS AND CROSSES

Regent’s Park Open Air Theatre

★★★

“what could be a gripping, nail-biting production is brought away from the cliff edge by the proclamatory style of the writing”