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 core of Tom Morris’s outstanding production is Toby Jones’s remarkable portrayal of Iago, which stands as the finest I have ever witnessed.

The great Shakespearean scholar AC Bradley praised 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.”

This description perfectly fits David Harewood, who reprises the role of Othello in Morris's production, having first taken it on at the National Theatre in 1997—remarkably the first time a Black actor played this part there. Harewood’s Othello embodies immense dignity, presenting a Venetian general of legendary stature, which heightens the tragedy of his psychological unraveling.

Caitlin FitzGerald’s Desdemona in this production diverges from traditional portrayals as a passive ingénue. Instead, she emerges as a woman passionately in love with her husband, yet unreservedly frustrated by the threats to their marriage caused by deceit and manipulation.

“O, these men, these men!”

Central to the play's impact is Toby Jones’s extraordinary Iago, whose performance surpasses all others I have seen.

Author's Summary: Tom Morris’s production of Othello is elevated by Toby Jones’s exceptional Iago and David Harewood’s dignified Othello, bringing fresh intensity to Shakespeare’s timeless tragedy.

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

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