there’s a certain chemistry missing from their interactions – it doesn’t feel like this cool Desdemona is so sexually entranced by Othello that she can’t flee him, even when her life’s at stake. Morris is good at the moments of physical violence here – the whole audience winces together as we hear a spine snap, sharp as celery. The moments of psychological violence, less so. As Iago, Jones is completely convincing without channelling the inner darkness you’d expect from this destructive force. Instead, an excellent Vinette Robinson becomes the emotional heart of the play as Desdemona’s maid Emilia. “Men are but stomachs: they eat us, then they belch us,” she says, bitterly, before becoming consumed by her own quest for justice.
Though it would be pushing it to say Tom Morris directs Othello as a comedy, he certainly wrings more laughs than usual out of Shakespeare’s great comedy. To be fair I don’t think I’d appreciated the extent to which previous productions I’ve seen had been using smart line reads to avoid giggles every time a character describes the villainous Iago – the greatest snake in English literature – as ‘honest’. Morris just cheerily milks it, and the result is a lighter-than-usual take on the play. Not out and out hilarious, but with a certain glossiness that speaks of a desire to go easy on a West End audience.
| 1751 | Broadway |
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| 1865 | Broadway |
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| 1904 | Broadway |
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| 1905 | Broadway |
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| 1906 | Broadway |
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| 1907 | Broadway |
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| 1907 | Broadway |
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| 1907 | Broadway |
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| 1909 | Broadway |
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| 1911 | Broadway |
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| 1913 | Broadway |
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| 1914 | Broadway |
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| 1915 | Broadway |
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| 1918 | Broadway |
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| 1925 | Broadway |
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| 1935 | Broadway |
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| 1943 | Broadway |
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| 1970 | Broadway |
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| 1982 | Broadway |
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| 2009 | West End |
London Production West End |
| 2016 | Off-Broadway |
NYTW Off-Broadway Revival Off-Broadway |
| 2017 | West End |
National Youth Theatre Adaptation West End |
| 2025 | Broadway |
Broadway Revival Production Broadway |
| 2025 | West End |
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