Othello Is Missing the Tragedy
Tom Morris’s production of Shakespeare’s Othello at the Theatre Royal Haymarket, starring David Harewood as Othello and Toby Jones as Iago, offers a striking visual and emotional experience but lacks a crucial element of moral darkness. The play asks: what happens when pure evil enters the world of decent and moral people? For this question to resonate, the evil must feel truly corrupt — and here, it falls short.
A Captivating Production
The stage design by Ti Green mesmerizes with suspended arches and mesh screens casting eerie projections of Othello’s inner turmoil. The pacing — swift and precise — carries the audience through nearly three hours with unexpected lightness. As sheer entertainment, the show dazzles.
The Problem of Evil
While Toby Jones delivers a polished and engaging Iago, beloved for his previous roles such as the crusading postmaster in Mr Bates vs The Post Office, his portrayal doesn’t evoke the chilling essence of wickedness the story demands.
His asides to the audience outlining his plan to ruin other people’s lives for the hell of it captivate and delight; the enactment of his puppeteering agenda ... is a joy to watch.
Yet, this very enjoyment blurs the moral lines — the audience sides with Iago, not Othello, turning tragedy into charm.
Final Reflection
Morris’s direction and Jones’s magnetism make the production fascinating to watch, but in elevating entertainment over ethical tension, the tragedy of Othello loses its heart.
Author’s Summary: Morris’s visually stunning Othello entertains brilliantly but softens the moral weight, shifting empathy toward Iago and diluting the play’s essential tragedy.