Review: OTHELLO at Theatre Royal Haymarket

There are many things to praise about director Tom Morris’ production, not least the partnership with set and costume designer Ti Green. Elements which are invariably scurried over in other versions, here are powerfully realised — not least the storm scene in which ships sail to Cyprus to engage the invading Turks. Suspended buttresses swing and arch above the players in a wholly dramatic transition which is possibly the most visually arresting of any I have witnessed. It is reflected throughout the production, which oozes a stylish flair and palette.

Fundamentally, of course, OTHELLO is about Venice’s brilliant general who has earned his spurs and gained a magnificent reputation for his military exploits. In the lead, David Harewood creates just the right balance between magnetism and self-doubt to permit those who orbit him to become fully realised. Chief among these is his spurned lieutenant, Iago, who has been overlooked for promotion despite his proven ability and loyalty to the Moor. In Toby Jones’ capable hands, the character delights in wielding power over lesser minds in his bid to exact a merciless vengeance. His wily execution of the role is streaked with a comically detached ambivalence and callousness.

The company of Othello. Photo by Brinkhoff-Moegenburg

After we learn of Othello’s unsanctioned marriage to Desdemona and more particularly, her willing participation, we feel her self-assurance and conviction in actively allying herself to a man she both respects and for whom she instinctively feels a deep connection. Caitlin Fitzgerald’s embodiment is at once refreshingly confident and redoubtable whilst retaining the due deference required to render her tragic undoing so utterly unjust. As her maid Emilia, Vinette Robinson’s blithe manipulation at the hands of her husband Iago and her subsequent indignation at his treatment of those for whom she cared equally bristles with a righteous energy. As Cassio, Luke Treadaway brings a youthful earnestness to the part, and in the neatly choreographed scene where he descends into drunkenness with shipmates and locals before his duties on the watch, the moment is sharply delivered with an overhead burst of light and freezes. Richard Howell’s lighting trick is emulated later as Othello’s sleep is tortured by dreams of his young wife’s possible infidelity, reinforcing the visual flourish.

Where other productions have chosen to wallow in the sunken, murky depths of mental castigation, this OTHELLO is brazenly pitched and entirely accessible. It will speak to a modern West End audience in a way few other productions have managed.

Continues at the Theatre Royal Haymarket until 17th January 2026.