Othello: a polished take on Shakespeare’s tragedy

This week marked the end of the run for Tom Morris’ Othello, a star-studded production that takes a conservative approach to the Shakespearean tragedy. Even so, it frequently draws laughter from the audience. David Harewood returns to the part 28 years after becoming the first Black actor to play the title role at the National Theatre. His Othello is sombre and regal, with a commanding presence that holds the audience captive to his words. He brings a poise to the role through which you can still see the frayed ends and foreshadowing of violence. 

Fitzgerald as Desdemona brings a new take on the usually young and more submissive character. This interpretation may strike those familiar with the play as unusual, but her indignation and repeated attempts to reason with her husband make her ending one whose brutality the audience feels in its entirety. Her accent, slipping from American to Irish, can occasionally take you out of the play. Luke Treadway’s Cassio is young, dashing and sympathetic, while Vinette Robinson stands out as Emilia, making the scene of her death impactful, aided by the restrained staging and booming sound effects. 

But the real star of the show is Toby Jones’ Iago. His deviousness is only matched by his perfect comedic timing, drawing laughs out of the audience at every turn. While thoroughly entertaining, his humorous presence can cut into the tension built by the other actors and diminish the stakes and sitting at odds with other production choices, such as the simple decor and modern but statuesque costumes.

Overall, it is a solid production, that remains relatively faithful to the original. It takes few risks – an approach which won’t turn Shakespeare enthusiasts away – yet it also makes no memorable choices that can set it apart from previous commercial takes on the play.