Review: The Stratford Festival's OTHELLO is Stirring and Powerful

The Stratford Festival’s Tom Patterson Theatre continues to demonstrate why it should be considered one of the best spaces in the world to mount Shakespeare. Director Haysam Kadri’s production of OTHELLO is stirring and powerful, with excellent performances by the entire company.

If I’m not mistaken, this is the 9th time the prestigious Stratford Festival of Canada has mounted a production of OTHELLO, with the last two being on the Festival and Avon stages respectively. There are many reasons why Shakespeare can be vastly different each time it is produced, the main one of course being the performers involved – but it truly is amazing the way the space it is performed in can play such a significant role. The intimate feel and brilliant acoustics of the Tom Patterson stage perfectly enhance an already exceptional production. Led by André Sills as Othello and Evan Buliung as Iago, this cast elevates every scene of the devastating Shakespearean tragedy. Themes of doubt, jealousy, manipulation, belonging, and betrayal, along with explorations of racism, and misogyny are tackled with nuance and deliberateness. These explorations, brought forth by reflective and moving performances leave audiences clinging to every word – spoken and unspoken.

The plot of this play is certainly known by most. The tragedy of OTHELLO explores how a respected, but ‘othered’ Venetian General falls victim to the manipulative plot of a friend he trusts and is led to believe that his wife is having an affair with his Lieutenant. The actions he takes as he is overcome by a jealous rage have devastating consequences for all.

Sills is captivating as the tragic titular character. At the core of this tragedy is the fact that Othello’s downfall is his own humanity. He has been plagued with insecurity and doubt brought on by Iago’s manipulation, but left vulnerable to that manipulation in the first place because of the knowledge and fear that because of his race, society views him as less than human. In the most twisted of parallels, Iago also manages to feel very human despite his actions feeling inhumanly evil. Buliung’s portrayal never makes Iago feel like a villainous caricature, but instead like a deeply flawed and complex human - the type that everyone hopes they do not run into often but certainly encounter on occasion. His own jealousy over Michael Cassio (a charismatic Jordin Hall) being promoted to Lieutenant over him is his primary motivation for his cruel and manipulative machinations, but the mischievous delight he experiences while pulling the strings and watching the fallout is evidence that the character receives gratification from controlling and hurting others. It is disturbing, but it is yet another layer of humanity.

As Desdemona, Krystin Pellerin represents the ache and confusion of any woman who has only ever tried to be loyal and honest, but for reasons beyond her, is met only with disdain and disbelief. Pellerin captures how the doubt and jealousy that rapidly overtake Othello indirectly eat away at Desdemona as well. Her performance is beautiful and heartbreaking. Another standout performance comes from Jessica B. Hill as Emilia. As Desdemona’s Lady in Waiting and Iago’s wife, Emilia is a fascinating character who is positioned at the centre of this tragedy. Her personal tragedy is that she does not realize how central she is and what useful information she possesses until it is too late.

As it is written, this play reflects the racism and misogyny of 16th century Venetian society (and of course acts as a commentary on racism and misogyny in general). The character of ‘Brabantia’ (an excellent Chick Reid) being Desdemona’s mother instead of her father, and the characters of Cassio and Emilia being portrayed by Black performers, allow for deeper, richer, and more complex dynamics to be on display when it comes to gender and race. The play still very much reflects the racism and misogyny of society, but now emphasizes just how strongly it exists on a structural level. The story is no longer simply about one person being different and therefore ‘othered’ or about men in a patriarchal society having full control over women. Instead it explores what it is to be ‘othered’ in a system of pervasive conscious and unconscious beliefs that influence the thoughts and actions of everyone, regardless of demographic.

For example, the vulnerability and internalized racism that Othello experiences is further complicated by the idea that Cassio – who he believes is having an affair with his wife, is another Black man. It is understandable how this perceived betrayal could run deeper for Othello. Similarly, the scene when Emilia calls Othello  "the Black Devil" after he has murdered Desdemona, feels contextually different coming from a Black woman. In productions where Emilia is white, the immediacy with which Emilia references Othello’s race suggests that perhaps she had preconceived notions about his morality and humanity based on race. Hill’s portrayal expertly brings an extra layer to Emilia’s words. She is not only condemning Othello for murdering Desdemona, she is expressing a sense of disgust and betrayal at the fact that with this act, he has proven himself to be exactly what the racist Venetian society thinks of him, and those who look like him.

Brian Dudkiewicz’s set is intriguing. As you enter the theatre, several similarly shaped arched sculptures hang over the stage. They are unthreatening and interesting to look at – long and splitting at the bottom, with what resembles an eye and a mouth at the top. It is only as the play progresses and Iago’s evil scheme begins to take hold, that, much like Iago himself, their serpentine nature becomes abundantly evident. This meshing of the imagery in the set design with the imagery presented in Shakespeare’s words is very effective. Lighting Design by Siobhán Sleath and Compositions/Sound Design by Thomas Ryder Payne are equally as effective.

Anita Nittoly is the Fight and Intimacy Director for the entire 2026 season of the Stratford Festival. The importance of having someone in this role is never clearer than in Act 5 Scene 2 when Othello strangles and then smothers Desdemona in their bed. The intimate violence in this act is distressing to watch, even with full knowledge that it is coming. It is reassuring - and in no way detracts from the devastation and tragedy of the scene – to know that the performers had the right kind of support when crafting this moment.

For a tragic play that carries heavy themes, the thoughtfulness and intention with which so many directorial and performance choices have been made are not only appreciated, but make this entire production utterly superb.

OTHELLO continues in repertory at the Tom Patterson Theatre until September 27th.

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