Othello is Missing the Tragedy
Tom Morris’s production of Shakespeare’s Othello, staged at the Theatre Royal Haymarket and featuring David Harewood as Othello and Toby Jones as Iago, offers a visually stunning and sharply paced experience that captivates throughout its two and three-quarter hours.
The scenography by Ti Green, with twisting arches suspended above the stage and ghostly projections flickering across mesh screens, provides a haunting window into Othello’s fractured mind. This inventive design heightens the psychological tension of the performance.
Despite its technical mastery and engaging rhythm, the production struggles with one key aspect: the portrayal of evil. In Shakespeare’s story, the essence lies in how ordinary, moral people fall when genuine malice takes root among them. For the tragedy to work, the malevolence must feel disturbingly real.
Jones, adored nationwide for his recent role as a crusading sub-postmaster in Mr Bates vs The Post Office, performs Iago with infectious charm. His conspiratorial exchanges with the audience, as he outlines his ruthless plans, simultaneously amuse and enthrall.
However, this likable interpretation blunts the darkness of Iago’s moral corruption. His manipulations — convincing Othello that Desdemona has betrayed him and provoking an unforgivable act — become entertaining instead of terrifying. Thus, while the production dazzles, it misses the tragic depth that defines Othello.
Author’s Summary
Morris’s visually rich and brisk production of Othello impresses theatrically but loses the essential menace of Shakespeare’s tragedy through an overly charming portrayal of evil.