Matthew d'Ancona's Culture: This Othello Is a Tour de Force
At the core of Tom Morris’s outstanding production is Toby Jones’s remarkable portrayal of Iago. It stands as the finest Iago performance I have ever witnessed.
The great Shakespearean scholar AC Bradley described Othello as “a being essentially large and grand, towering above his fellows, holding a volume of force which in repose ensures pre-eminence without an effort, and in commotion reminds us rather of the fury of the elements than of the tumult of common human passion.”
Bradley’s words could well apply to David Harewood, who returns to the role in Tom Morris’s powerful staging. Harewood first played Othello at the National Theatre in 1997, marking a historic milestone as the first Black actor cast in the role there. His Othello embodies immense dignity—a Venetian general with legendary achievements—making his tragic psychological collapse even more striking.
In this production, Caitlin FitzGerald’s Desdemona is portrayed not as a passive ingénue but as a woman deeply in love who freely expresses her frustration as their marriage faces ruin through deceit and manipulation.
“O, these men, these men!”
At the heart of the play’s intensity is Toby Jones’s phenomenal Iago, a performance that surpasses all others I have seen.
Author's summary: This production of Othello stands out through extraordinary performances, especially Toby Jones’s Iago and David Harewood’s dignified Othello, bringing new depth to Shakespeare’s tragedy.
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