David Harewood’s portrayal of Othello at the Theatre Royal Haymarket stands as a compelling reaffirmation of his versatility and command as an actor. Known widely for his television roles, Harewood brings a depth to Shakespeare’s Venetian general that manifests both the character’s noble stature and his tragic vulnerability. Harewood, who previously made history as the first black actor to embody Othello at the National Theatre in 1997, now revisits the role with a nuanced maturity at 59. His performance is marked by a gradual unraveling—from a confident, deeply in-love soldier to a man consumed by consuming jealousy and despair. Drawing on his own experiences with psychosis, Harewood injects an emotional authenticity into Othello’s descent, expressing a fragile masculinity caught between strength and overwhelming self-doubt.
Sharing the stage with Harewood, Toby Jones offers a compelling counterpoint as the manipulative Iago. Jones’ portrayal is masterful in its subtlety, embodying the character's duplicitous nature with a quiet menace that sometimes verges on impishness. His small physical stature contrasts sharply with the venomous force of his scheming, drawing the audience into a complex response of guilty fascination and horror. The tension between Harewood’s commanding presence and Jones’ sly cruelty forms the emotional backbone of the production, drawing viewers into the tragic unraveling with intense immediacy. Caitlin FitzGerald’s portrayal of Desdemona further enriches the story; as a strong, resilient woman rather than a mere victim, she challenges traditional interpretations, though the narrative nonetheless culminates in a chilling depiction of domestic violence.
The production itself, under Tom Morris’s direction, moves swiftly and maintains a gripping pace, though it is not without its controversies. Some elements—such as the use of background music by PJ Harvey—have been noted as slightly distracting, arguably diluting the raw power of the dialogue and performance. Ti Green’s set design adds to the play’s atmosphere with elegant adaptability, allowing the focus to stay on the actors while subtly shifting to support the story’s emotional beats.
Critics from multiple outlets have praised this production for its fresh and relevant interpretation of Shakespeare’s classic tragedy. Reviews from The Guardian, The Evening Standard, and The Daily Telegraph applaud Harewood’s emotional range and the seamless chemistry between the leads, noting how the production resonates powerfully with contemporary audiences through its exploration of themes like jealousy, race, and manipulation. The Independent and The Sunday Times highlight the authenticity and depth that Harewood and Jones bring to their roles, commending the direction and stagecraft for enhancing the narrative’s impact. Even the Financial Times emphasises the production’s success in blending commanding performances with a compelling, immersive atmosphere.
While the play’s moral ambiguities and tragic melodrama remain, this rendition of Othello engages deeply with the complexities of its characters. Harewood’s Othello is not just a storied military figure but a profoundly human character grappling with his own demons. Together with Jones’ Iago, they create a riveting psychological portrait that challenges and captivates. This staging at the Theatre Royal Haymarket thus stands as a powerful testament to the enduring relevance and emotional potency of Shakespeare’s work, brought vividly to life by a cast at the top of their form.
📌 Reference Map:
- [1] (Daily Mail) - Paragraphs 1, 2, 3, 4
- [2] (The Guardian) - Paragraph 5
- [3] (Evening Standard) - Paragraph 5
- [4] (Daily Telegraph) - Paragraph 5
- [5] (The Independent) - Paragraph 6
- [6] (The Sunday Times) - Paragraph 6
- [7] (Financial Times) - Paragraph 6
Source: Noah Wire Services