Review: Othello, Theatre Royal Haymarket

Almost three decades after being the first Black actor to play Othello at the National Theatre, David Harewood returns to the role at Theatre Royal Haymarket.   

Shakespeare’s tale of love, deception, tragedy and misdirection deeply explores the male psyche and how readily inner monologue can drive even the most logical of minds to despair and torment. This production is steeped in layers of love, deception and despair.

The high achieving trinity of PJ Harvey (music), Richard Howell (lighting) and Ti Green (design) is artfully led by Director Tom Morris, delivering a complex, layered setting that makes innovative use of the depth of stage, auditorium and royal box. The elegant, gilded venue is enhanced by additional golden arches and a textured doorway, speaking to the depths of Othello. Lighting is stark and masterful, the interplay of light and shade giving physical manifestation to the dynamics of the drama. Rarely does a creative team surpass the power of the acting performance, yet here they excel. The blending of music, shapes, shadows and direction evolve an innocuous wedding ceremony into dramatic scenes of war, to garden bower and to the intimacy of the bedroom. The metamorphosis of golden arches to pewter-like bells is captivating. Elegant use of graphics, lighting and screen movement provide walkways, alcoves and the revelry of a bar, while the desperate fears of war are conveyed eloquently, thunderstorms ceding to the embrace of sunshine.  

The quality of acting from the star-studded cast is compelling. Harewood is one of few actors that can turn his back to the audience, his imposing physicality and judicious use of gesture holding attention, his voice sonorous, enhanced by clarity of diction. Transitions from the fluency and assurance of love and joy to the vulnerability of torment and broken despair are exceptional, whilst the power with which he cites his Blackness with pride and subsequently in anguish is enthralling, echoing the challenges of People of Colour today. Toby Jones is masterful as Iago, with magnificent timing: a smug, reptilian, timorous yet malicious man. Iago’s duplicitous character emphasises the affectation of public love and hidden depth of loathing he has for Othello. In all of Shakespeare’s works, Iago’s volume of lines is second only to Hamlet’s, yet Jones ensures we feel every syllable.

Caitlin Fitzgerald as Desdemona has a nymph-like presence, her accent occasionally jarring with the contrast of American enunciation. Together with Luke Treadaway (Cassio), Peter Guinness (Brabantio) and Tom Burn (Roderigo), they each have moments of indistinct speech, which is frustrating.  Vinette Robinson (Emilia) is, by contrast, courageous and clear. Her timing, voice and demeanour convey the power of the maid’s love and loyalty for her mistress. The stark difference as Emilia suffers at the hands of Iago illustrates the complexity of abuse in private and masking in public. Jude Owusu (Lodovico) is an actor to look out for, his presence, delivery and command of the stage smooth and impressive.

Costuming collaboration by Green and Sabia Smith is well thought out, impactful in transitioning emotion and context: taking Othello from an iridescence-shot blue-green suit to the crumpled calico of a man enslaved is inspired. Desdemona’s elegant fluidity is enhanced by choices of attire and colouring across scenes, and there is a playful elegance in priests with lanyards and ID cards that contrasts the timing of Othello’s setting, connecting this established story with today’s complex society.

Harewood brings both gravitas and grace to Shakespeare’s renowned moor. His own publicly acknowledged understanding of masculinity, mental health issues and torment have undoubtedly contributed to this memorable, sensitive portrayal of a powerful man, distraught by perceived deception. It is remarkable in every facet.

Directed by Tom Morris
Music by PJ Harvey
Design by Ti Green
Sound & additional music by Jon Nicholls
Lighting design by Richard Howell
Make up design by Dominic Skinner
Hair and wig design by Suzanne Scotcher
Costume supervision by Sabia Smith

Othello runs at Theatre Royal Haymarket until Saturday 17 January