Matthew d'Ancona's Culture: This Othello is a Tour de Force
At the center of Tom Morris’s powerful production stands Toby Jones, whose portrayal of Iago is nothing short of extraordinary. It ranks among the finest interpretations of the role ever seen on stage.
AC Bradley once 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 easily apply to David Harewood, who returns to the part that he first played at the National Theatre in 1997—remarkably, the first time a Black actor had been cast in the role there. In Morris’s staging, Harewood’s Othello is a commander of immense stature and gravitas, his unraveling both tragic and mesmerizing.
Caitlin FitzGerald’s Desdemona is equally striking. Rather than a naïve ingénue, she is portrayed as a passionate woman torn between devotion and despair as deceit begins to poison her marriage. Her lament—
“O, these men, these men!”
—resonates with deep frustration and love.
Author’s Summary
Morris’s production of Othello captivates with Jones’s fierce Iago, Harewood’s commanding general, and FitzGerald’s heartfelt Desdemona—a masterful reinterpretation of Shakespeare’s tragedy.
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