Harewood is similarly understated in the title role. This military genius is suave and faintly self-satisfied, yet his descent into madness never really tugs at the emotions. Harewood falls heavily to the ground in the scene where Othello slips into a paralytic fit, but there’s not much light and shade to his verse-speaking. (It didn’t help, to be honest, that throughout the evening the audience was prone to chortle at scenes and lines that weren’t remotely comical.)
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.
| 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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| 1937 | Broadway |
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| 1943 | Broadway |
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| 1945 | 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 |
West End |
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