Matthew d'Ancona's culture: This Othello is a tour de force

Matthew d'Ancona's Culture: This Othello Is a Tour de Force

Tom Morris’s brilliant production centers on Toby Jones’s extraordinary portrayal of Iago, which stands as the best interpretation I've 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 returns to this role in Tom Morris’s remarkable staging. Harewood first played Othello at the National Theatre in 1997—the first Black actor cast in this role there.

His Othello exudes immense dignity as a Venetian general known for mythical achievements, which heightens the impact of his tragic psychological breakdown.

Equally notable is Caitlin FitzGerald’s Desdemona, who diverges from the traditional passive ingénue. Instead, she is a woman deeply in love yet unafraid to express frustration as their marriage is threatened by deception:

“O, these men, these men!”

At the core of this powerful production is Toby Jones’s performance, which remains the standout Iago I have ever seen.

Author’s summary: Tom Morris’s Othello triumphs with David Harewood’s commanding lead and Toby Jones’s unparalleled Iago, delivering a deeply gripping and fresh Shakespearean experience.

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

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