Othello review – David Harewood makes a strong return to the historical role | stage

DAvid Harwood was the first black actor to play Othello at the National Theater in London in nearly 30 years. He’s reprising the role in the West End now, and after a mostly illustrious screen career in the meantime, he’s become one of the stage’s most striking actors. Harewood’s Othello commands your attention with his physical presence and imperial quality, the gloats and smiles and tics in the run-up to his wounded, murderous rage. He captivates the other characters so much that they freeze when he recounts meeting Desdemona at the beginning. He woos them and us.

Harwood is not the only black actor on stage, which reflects Venice’s historical cultural mix, and there is no sense of racial isolation. However, the racist language is still jarring, perhaps because Tom Morris’s production is so modern.

Casting stars sage. Toby Jones, never quite out of weariness as the insincere Iago, carries out his battle for dominance with a bright relish that verges on comic intrigue. He’s the best in the company, a seemingly unassuming foot soldier who stands in stark contrast to the man who explodes and plots in understage soliloquies that feel like secrets shared with the audience.

Caitlin Fitzgerald, as Desdemona, is a seamless blend of strength and fear, and her American accent seems to mix with Irish. The sudden slap from her husband is one of the biggest shocks in the play, and a terrible turning point. Luke Treadaway (who worked with Morris on War Horse) is a paragon of goodness as Cassio, with angelic blond hair. Vinette Robinson is wonderful as Desdemona’s maid, Emilia, and the two women’s reflections on the misogyny in their world are reminiscent of Shakespeare’s progressivism: this is a play about gender and race, and the wrongs done to women, not just Othello.

But these are points that have been mentioned and not built upon. Immaculately crafted and with a dark sense of humour, ‘West End Othello’ is a joy to behold. It’s quick, doesn’t dig deep, and doesn’t seek to connect the play’s manipulation to the age of Trumpian truths and lies (and our trust in the wrong people?). There is an admirable clarity of language and action when we hear how Desdemona’s virtue is first questioned by her father, Brabantio (Peter Guinness), who says, “You have deceived her father and thee,” before Iago takes advantage.

The Ti Green Collection is beautiful, romantic or macabre with every switch of light and sound. PJ Harvey’s music adds to it – ominous notes and subtle tingles. The opening scene comes with a series of large gold frames, set against the ubiquitous blackness so that the characters appear to be stray historical figures who have leapt from their gilt-edged oil paintings into the present. It has become modern, with transparent screens marking doorways and corners, for whispering, spying and eavesdropping. The papal red color of senators’ robes symbolizes bloodshed. An iridescent sky sweeps across the back, turning red as Othello’s murderous jealousy is unleashed. The colors are bold, silky, shimmering.

It’s impressive but you don’t always get carried away. This is an unfixed Othello, floating on the shifting shadows of the sky. This is its weakness and strength.