Othello at the Haymarket: A Strong Cast Lost in a Confused Modern Take

Theatre Royal Haymarket, London | until 17th January

Othello – “Beware, my lord, of jealousy. It is the green-eyed monster which doth mock the meat it feeds on.”

This is Shakespeare’s classic play, a tragedy about love, betrayal, and jealousy, the green-eyed monster. It marks the first of several modern-dress productions promised for the West End.

One aspect to celebrate is that we are receiving a fully cast production of a Shakespearean play right in the heart of the West End. That is a significant achievement.

Modern dress in Shakespeare can often enhance the audience’s understanding of the play’s world and relationships. However, in this production, which is set in Venice and Cyprus, some of the costume choices are rather peculiar. Othello wears military uniform, which he begins to unbutton as his mind unravels, and that is fine.

I found myself unfavourably comparing this production to a brilliant performance at the National Theatre back in 2013, featuring Rory Kinnear, Adrian Lester, and a then-relatively unknown Jonathan Bailey as Cassio. That production was set entirely in a military camp, completely in modern dress, where everything was clear and effective. In contrast, this production does not facilitate an understanding of the world of the play.

At one point, lighting rigs surround the bed for the final scenes with Desdemona and Othello, and I was puzzled by this decision. There is some projection, and gold frames appear at the beginning only to vanish, leaving a large empty stage.

Nothing seems to make sense. Although the setting is military at one point, Toby Jones marches off stage in a manner that suggests he has never served in the military. It appears they have chosen to portray him somewhat like Richard III. I saw Toby Jones on BBC Breakfast discussing the production and mentioning that they aim to inject humour into it.

However, Richard III is filled with humour because he is a villain we love to hate. In contrast, Iago should be despised. The edited script fails to clarify his motivations; in the full text, his hatred for Othello stems from being passed over for promotion. This jealousy triggers the events surrounding the handkerchief and plants seeds of doubt in Othello’s mind regarding Cassio’s supposed affair with his wife. Unfortunately, none of this is conveyed effectively, resulting in moments of laughter where there should be none.

One critic, I believe it was The Financial Times, remarked that Toby Jones exudes the looming menace of a peevish middle manager. I wouldn’t go that far. I think all three actors are performing well, but they all appear to be acting in different plays.

Iago’s costume appears to be a version of Venetian military uniforms. Desdemona, on the other hand, is dressed in a rather unflattering green smock that could almost be mistaken for maternity wear. Another character, Roderigo (who is in disguise), sports a beard attached to a piece of elastic, leading me to wonder, “What is going on here?” None of this truly supports the play.

The result is a curiously old-fashioned, albeit well-spoken, production that feels distinctly disconnected from the audience. I was seated quite close, yet it seemed as though everything was happening on stage without truly engaging with us.

David Harewood returns to the role, having last portrayed it at the National Theatre in 1997, when he was, surprisingly and shamefully, the first black actor to take on the part there. Here, he delivers everything we would expect – commanding presence and considerable physicality, although his delivery occasionally feels somewhat dated. He is physically impressive, managing two backward falls, which is no small feat.

Caitlin FitzGerald plays a tall, willowy Desdemona and interprets the role in a way that deviates from the norm. Unfortunately, this weakens the tragedy, as it gives her far too much agency.

The standout performance of the evening, for me, was Vinette Robinson as Emilia, who delivered her lines beautifully. However, this performance cannot redeem the production, and I found it somewhat unbelievable that she was married to Toby Jones’s Iago.

I found myself longing for a Jamie Lloyd approach, something a bit more inventive, though hopefully without the use of video cameras and screens. What we have instead is a production that remains curiously old-fashioned.

It’s well-spoken and well-acted in moments, but overall the show never quite connects with the audience or its own ideas, leaving us expecting something a little more exciting than what is delivered.

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