The Royal Shakespeare Company’s latest production of Othello presents a fresh take on Shakespeare’s classic tale of jealousy, deception, and tragedy. This revered play tells the story of Othello, a noble Moorish general in the Venetian army, who is gradually led to believe in his wife Desdemona’s infidelity, thanks to the manipulative schemes of his ensign, Iago. Set in a world where trust is eroded and perception distorted, Othello unfolds as an intense psychological journey, ending in heartbreak and ruin.
In this production, Tony Award-nominated John Douglas Thompson makes a commanding RSC debut as Othello. Thompson’s portrayal of the conflicted general is powerful and moving; he brings a gravitas to Othello that both dignifies and humanises him, allowing the audience to connect deeply with his tragic trajectory. Juliet Rylance’s Desdemona is a fierce and nuanced figure, displaying a resilience that adds new dimensions to her character and effectively counters Othello’s mounting paranoia. Her presence on stage is captivating, and her performance is underlined by strength rather than the meekness with which Desdemona is sometimes portrayed.
The character of Iago, however, played by Will Keen, doesn’t quite hit the mark in terms of intensity. While Keen’s skill as an actor is undeniable, the direction by Tim Carroll leads to an interpretation of Iago that feels restrained and understated, lacking the Machiavellian malice that makes him so compelling. This subdued portrayal softens Iago’s villainous nature, which in turn intensifies the ambiguity surrounding his motives. Unfortunately, this choice detracts from the dramatic tension, as Iago’s scheming lacks the chilling edge that makes his manipulation of Othello so sinister. Instead of a master of deception, Iago appears more as a passive observer, dulling the psychological grip he holds over Othello and the audience.
Carroll’s direction is, at times, uneven. Notably, his staging choices blur the boundaries between private reflection and public presence. Characters enter the stage before their scenes begin, disrupting the intimacy of soliloquies and lessening the intended impact of these moments. In these instances, it feels as if the audience is sitting in the wings, witnessing each character in a limbo of self-consciousness rather than unfiltered introspection. Some scenes, like the fight between Cassio and Roderigo, are also oddly staged. The confrontation is rendered as a near-stationary tableau, with the actors spotlighted and thrusting forward rather than physically engaging with one another. This lack of dynamism strips away the emotional intensity, diminishing the complexity of relationships, particularly the love and tension between Cassio and Bianca.
One of the more striking limitations of this production is the lack of nuanced development in character relationships, which prevents the emotional intricacies of Othello from reaching their full depth. The dynamics between key figures—such as Othello and Iago, or Cassio and Bianca—are not explored with the complexity they demand. For example, the bond between Othello and Iago, which should evolve into a twisted allegiance fuelled by trust and betrayal, remains underexplored, limiting the impact of Iago’s treachery. Similarly, the portrayal of Cassio and Bianca’s relationship feels superficial, with the staging of their scenes reducing their interactions to almost mechanical exchanges. This lack of emotional layering undercuts the raw intimacy and betrayal that lies at the heart of the play, resulting in relationships that feel more perfunctory than fully realised. Consequently, the production sacrifices some of the psychological and relational richness that makes Othello such a compelling tragedy of human connection and deceit.
Despite these challenges, the production hits its stride in the final 30 minutes. The Willow Scene, beautifully acted and visually resonant, draws the audience into the sorrowful intimacy of Desdemona’s plight. The tragic demise of Othello and Desdemona unfolds with a piercing poignancy, with Carroll’s direction finally achieving a profound emotional connection.
Visually, the production is impressive. Judith Bowden’s period-based costumes lend authenticity, enhancing the play’s historical depth. The set, though minimalistic, is stunning, serving as a psychological landscape that reflects Othello and Iago’s complex minds. The back of the stage, devoid of furniture or props, becomes an evocative backdrop that mirrors the characters’ tumultuous thoughts, creating a potent metaphor for the play’s themes of inner conflict and turmoil.
This Othello, directed by Tim Carroll, is both bold and flawed. While Thompson and Rylance deliver powerful performances, Keen’s restrained Iago, alongside uneven direction, prevents the production from fully realising its potential. The final act, however, redeems much of the experience, making this adaptation of Othello a memorable, if somewhat inconsistent, take on a classic tragedy.
Othello plays at the Royal Shakespeare Theatre until 23rd November 2024.
Photography throughout from Johan Perrson.
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