Morris acknowledges the racism (to a point) and jealousy, but interestingly, leans into the mysogyny more than many productions. Strong women must inevitably be punished and there is no shying away from the bleak violence of both Iago and Othello, doled out to who they see as 'whores', 'trash' and 'strumpets'. Morris makes this play about gender more than race.
But the three central performances, all in their different ways, fail to gel. Harewood’s Othello is impressive in stillness; the moments when he is gazing at Desdemona full of wonder hint beautifully at the depth of feeling he contains. But there’s no directorial attempt to explain his sudden loss of confidence in her – always the crux of any Othello – or the moment when Iago’s poisonous insinuations suddenly infect him.
| 1751 | Broadway |
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| 1865 | Broadway |
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NYTW Off-Broadway Revival Off-Broadway |
| 2017 | West End |
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| 2025 | Broadway |
Broadway Revival Production Broadway |
| 2025 | West End |
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