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 center of Tom Morris’s exceptional production lies Toby Jones’s remarkable portrayal of Iago, which I consider the finest Iago performance 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 aptly capture David Harewood’s Othello in this production. Returning to the role he first played at the National Theatre in 1997—where, until then, no Black actor had been cast as Othello—Harewood presents a character of immense dignity. His Venetian general possesses legendary achievements, making the depiction of his mental collapse even more powerful.

This interpretation notably refrains from portraying Desdemona as a passive ingénue. Caitlin FitzGerald plays her as a woman deeply in love yet openly frustrated by the dangerous tensions threatening her marriage, expressing her feelings with lines like, “O, these men, these men!”

Overall, Toby Jones’s extraordinary work as Iago remains the production’s standout element.

Author's summary: Tom Morris’s production of Othello captivates with David Harewood’s dignified Othello, Caitlin FitzGerald’s passionate Desdemona, and Toby Jones’s unparalleled Iago performance.

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

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