Harewood’s Haunting Othello Returns to the West End, Acknowledging Race and Gender in Shakespeare’s Timeless Tragedy
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A new production of Othello in London’s West End, starring David Harewood in the titular role, offers a visually stunning and powerfully acted interpretation of Shakespeare’s tragedy, while stopping short of fully grappling with its contemporary resonance. Harewood, who first broke barriers as the first Black actor to portray Othello at the National Theatre nearly three decades ago, delivers a captivating performance, showcasing a commanding stage presence honed after a successful screen career.
A Captivating Othello, A Judiciously Cast Ensemble
Harewood’s Othello immediately commands attention. The actor embodies an “imperial quality,” utilizing subtle physical cues – “sniffs, smirks and tics” – to foreshadow the character’s descent into “murderously wounded rage.” His performance is so compelling that, as the text notes, other characters appear “frozen” as he recounts his initial encounter with Desdemona, effectively captivating both them and the audience.
The supporting cast is equally strong. Toby Jones shines as the duplicitous Iago, portraying a “shining relish” for manipulation that borders on the comedic. He masterfully embodies a seemingly unassuming soldier, contrasting sharply with the character’s scheming soliloquies, presented as intimate confessions to the audience. Caitlin FitzGerald delivers a nuanced Desdemona, blending “strength and fearfulness” with a unique vocal quality – an accent described as a blend of American and Irish. A particularly striking moment is a surprising physical altercation between Othello and Desdemona, marking a pivotal and shocking turning point in the narrative. Rounding out the principal cast, Luke Treadaway embodies the virtuous Cassio, while Vinette Robinson delivers a marvelous performance as Emilia, Desdemona’s maid.
Race, Gender, and the Weight of Misogyny
This production notably features a diverse cast, reflecting the historical cultural mix of Venice and avoiding a sense of racial isolation for Othello. However, the play’s inherent racism, manifested in its language, remains “jarring,” particularly given the production’s modern-dress setting. The play’s exploration of gender dynamics is also brought to the forefront, with Emilia and Desdemona’s reflections on the “misogyny in their worlds” highlighting Shakespeare’s progressive insights into the “wrongs wreaked on women.”
However, the production’s exploration of these themes feels somewhat superficial. These points are “mentioned, rather than built upon,” leaving a sense that deeper engagement with the play’s complexities is missed.
A Visually Striking, Yet Distant, Production
The production is undeniably “ravishing to look at,” boasting immaculate choreography and a darkly humorous tone. The set design, by Ti Green, is particularly noteworthy, shifting between romantic and foreboding aesthetics with masterful use of light and sound. The opening scene utilizes “grand gold frames” against a black backdrop, creating the impression of historical figures stepping into the present. Modern elements, such as “diaphanous screens,” are incorporated to suggest hidden spaces for intrigue and eavesdropping. The use of color is also striking, with “papal red” foreshadowing the bloodshed to come and an “iridescent sky” mirroring Othello’s escalating jealousy. PJ Harvey’s musical score, described as containing “doomy notes and delicate tingles,” further enhances the atmosphere.
Despite its visual and auditory strengths, the production feels somewhat “unanchored.” It remains “afloat against its shifting shades of sky,” lacking a strong connection to contemporary issues. The production notably avoids directly linking the play’s themes of manipulation and deception to modern parallels, such as the “Trumpian truths and lies” that characterize contemporary political discourse.
Ultimately, this Othello is an impressive spectacle, but one that prioritizes aesthetic beauty over profound thematic exploration. It is a production that impresses, but does not always fully sweep the audience into its emotional core.
