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 brilliant production is Toby Jones’s astonishing portrayal of Iago, which is the best 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 seem to capture David Harewood’s embodiment of Othello in this powerful production. Returning to a role he first played at the National Theatre in 1997—where, until then, no Black actor had been cast—Harewood presents a figure of immense dignity, a Venetian general of mythic stature. This heightens the impact of Othello’s psychological unraveling.

Crucially, Caitlin FitzGerald’s Desdemona diverges from the traditional passive ingénue portrayal. She plays a woman deeply in love yet openly frustrated as their marriage falls apart amid deceit and manipulation, exclaiming, “O, these men, these men!”

At the center of the drama remains Toby Jones’s Iago, whose performance surpasses all previous renditions I have seen.

Summary: This production of Othello delivers a profound and compelling interpretation, led by Toby Jones's unmatched Iago and David Harewood's dignified Othello, alongside a vividly realized Desdemona.

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

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