Matthew d'Ancona's culture: This Othello is a tour de force

Matthew d'Ancona's Culture: This Othello is a Tour de Force

At the core of Tom Morris’s outstanding production lies Toby Jones’s remarkable portrayal of Iago. It is, without question, the finest Iago performance I've 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 aptly capture David Harewood’s portrayal in Morris’s powerful production. Harewood returns to the role he first took on at the National Theatre in 1997, where, until then, no Black actor had been cast as Othello.

Harewood’s Othello embodies colossal dignity, a Venetian general with mythic achievements, which intensifies the impact of his tragic psychological unraveling.

Equally important is Caitlin FitzGerald’s Desdemona, who is depicted not as a passive ingénue but as a woman passionately in love with her husband and openly frustrated by the dangerous intrigues threatening their marriage.

“O, these men, these men!”

At the heart of the play stands Toby Jones’s extraordinary Iago, whose performance surpasses all others I've seen.

Author’s summary: This production of Othello captivates with powerful performances that bring new depth to Shakespeare’s tragedy, with Toby Jones’s Iago as its breathtaking centerpiece.

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The New European The New European — 2025-11-01

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