Matthew d'Ancona's Culture: This Othello is a Tour de Force
At the core of Tom Morris’s brilliant production is Toby Jones’s astonishing portrayal of Iago, which stands as the finest Iago performance I have 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 depict David Harewood, who reprises the role in Tom Morris’s impressive staging—a role he first played at the National Theatre in 1997. Notably, until then, no Black actor had been cast as Othello at the NT.
Harewood’s Othello exudes enormous dignity, embodying a Venetian general of legendary stature. This makes his tragic psychological breakdown even more gripping.
Caitlin FitzGerald’s Desdemona is portrayed not as a passive ingénue, but as a woman deeply in love with Othello, candid in her frustration as their marriage faces deadly threats from deceit and manipulation.
“O, these men, these men!”
Ultimately, Toby Jones’s remarkable Iago dominates the production, delivering a performance unmatched in its power and nuance.
Author's summary: This Othello production shines through Toby Jones’s extraordinary Iago, David Harewood's dignified lead, and a vividly portrayed, passionate Desdemona, creating a commanding Shakespearean drama.