Othello has always been one of my favourite Shakespeare plays – it’s got everything: love, betrayal, blood, and, of course, one of the most twisted villains in all of theatre. This latest production at the Theatre Royal Haymarket stars David Harewood (Supergirl, The Night Manager, Homeland) as Othello, with Toby Jones (Harry Potter, Detectorists, Tinker Tailor Soldier Spy) as Iago, and Caitlin Fitzgerald (Masters of Sex, Succession, Inventing Anna) as Desdemona.
It’s worth remembering that Harewood was the first Black actor to play Othello at the National Theatre 28 years ago, and here he is again, bringing the role to life in a performance that is nothing short of captivating.
From the start, Harewood grabs your attention. His Othello is a confident, noble man deeply in love with Desdemona, and you can feel that love in every scene. The chemistry between them is spot-on, so much so that when their tragic downfall starts to unfold, you feel it hit you in the gut. As the play progresses, Harewood shows Othello’s transformation with raw intensity – the jealousy, the rage, the utter heartbreak. You see every ounce of that pain on his face, and you feel devastated for him.
Toby Jones as Iago gives a solid performance, but it feels a bit exaggerated at times. While he definitely captures Iago’s malice, I didn’t get the same sense of quiet, simmering menace that I’ve seen in other portrayals. There are moments where he tips into more of a cartoon villain than a truly twisted, calculating figure. Every time someone referred to him as “Honest Iago,” there was an audible chuckle in the audience, and while that’s part of the character’s manipulation, it felt a little out of place sometimes. Jones’ Iago is effective, but I felt it lacked a certain subtlety.
The set design by Ti Green is simple but striking. The golden frames in the opening scene evoke Venice’s opulence beautifully, and when the action shifts to Cyprus, everything changes. The storm scene is a standout, with the frames rattling and flying, creating an electric sense of chaos. After the storm, the set calms down, with projections by Nina Dunn capturing the mood perfectly – subtle but effective in conveying the growing tension between Othello and Desdemona.
Green’s costume choices are as bold as her set. Othello opens the play in a bright blue military uniform, Cassio looking dazzling in his whites, but Iago always outshone in his plain old military khakis. The beautiful red of the Venetian council’s cloaks seems suggestive of the blood that is to be spilled.
Luke Treadaway’s Cassio is spot-on – charming, naive, and a tragic figure caught up in the whirlwind. There’s a fantastic scene where Iago convinces him to drink, and the subsequent party scene, during which Iago soliloquises downstage, is staged in slow-motion bursts that make it feel like a montage. Tom Morris’s direction gives the play a modern twist that works really well and gives it a slightly cinematic feel, all while staying true to the live theatre energy.
Caitlin Fitzgerald’s Desdemona is heartbreaking. Her loyalty to Othello is so clear, and you can see how deeply she loves him. The chemistry between her and Harewood makes you root for them, and when things start to fall apart, it hits all the harder.
A special mention to Vinette Robinson as Emilia, who absolutely steals the show in the final act. Her emotional confrontation with Iago is a powerhouse moment, full of grief, rage, and love. It’s a performance that stayed with me for a while after leaving the theatre.
One of the reasons audiences keep coming back to Othello is because the themes of the play are – sadly – timeless. The racism inherent in the way Othello is referred to, the way Iago twists words and situations to fit his desired narrative, never letting the truth get in the way, are all too familiar in our modern world.
One aspect that felt rushed for me was how quickly Othello’s trust in Desdemona crumbles. One minute, he’s madly in love with her, and the next, he’s calling her a whore and ready to kill her, because of a handkerchief. I get that Iago is manipulating him, but it felt too sudden for me. I wanted to feel that shift more slowly, to see the anger build.
Despite that minor issue, this production is a triumph. Harewood’s Othello is a heart-wrenching portrayal, and his emotional range is incredible. The set, the performances, and the way the play has been modernised all come together in a way that makes the tragedy hit hard. While I’d have liked a more layered Iago, the core of Othello and Desdemona’s doomed love is devastating and beautifully played. It’s a classic for a reason, and this production should not be missed.
Catch Othello at the Theatre Royal Haymarket until Jan 17th 2026.
Book tickets now at Othelloonstage.com
Words by Nick Barr
Photography by Brinkhoff/Mögenburg
