This is every bit a “West End Othello” that is ravishing to look at, immaculately choreographed and darkly humorous. It is pacy and does not probe deeply or seek to connect the play’s manipulations with our era of Trumpian truths and lies (and our own trusting of the wrong people?). There is an impressive clarity of language and events as we hear how doubt against Desdemona’s virtue is first cast by her own father, Brabantio (Peter Guinness), who says “she deceived her father and may thee”, before Iago capitalises on it.
Caitlin Fitzgerald’s terrific, finally terrified Desdemona, combining innocence with independent-mindedness, stands her ground too. Thus the production, which ably registers the play’s disconcerting notes of comedy, and throughline of avoidable tragedy, is anchored to psychological plausibility: how swiftly reason can unravel, and a happy couple spiral towards calamity. Vinette Robinson as Iago’s wife, Emilia, also taps due depth in the outraged dismay of a woman co-opted into the nightmare.
| 1751 | Broadway |
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| 1906 | 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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