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. This performance stands out as the finest I have 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 could well describe David Harewood, who reprises the role of Othello in Tom Morris’s powerful production. Harewood first played the part at the National Theatre in 1997, breaking ground as the first Black actor cast in the role there. His portrayal presents Othello as a figure of immense dignity—a Venetian general of legendary stature—making his psychological downfall deeply affecting.
Crucial to the play's emotional depth is Caitlin FitzGerald’s interpretation of Desdemona. Unlike some versions that show her as a passive ingénue, FitzGerald’s Desdemona is passionately in love with Othello yet openly frustrated by the deadly intrigues tearing their marriage apart.
“O, these men, these men!”
Toby Jones’s extraordinary Iago remains the centerpiece of this production, delivering what is arguably the best performance of the character ever seen.
Author’s summary: Tom Morris’s production of Othello captivates with David Harewood’s dignified Othello, Caitlin FitzGerald’s vivid Desdemona, and Toby Jones’s unparalleled Iago, offering a profound theatrical experience.