Review: OTHELLO, Riverside Studios

They say two’s company and three’s a crowd. And nothing could be truer in this visceral new production of Othello in Studio 3 at the Riverside Studios, where we are rewarded with three Iagos.

This multiplying effect, the dreamchild of director Sinead Rushe, results in a bold and fiercely tense version of Shakespeare’s tragedy. Throughout the entire 100 minutes (with no interval) there is very little let-up. You hang onto the edge of your seat pretty much the entire time in a small, intimate space, with a pared down set by Natalie Pryce of some curtains and the odd prop (like a bench, candle and bedding). Pryce also gives us modern day dress with a dash of military Zelensky chic.

Rushe says the inspiration for her trio of Iagos came from an “acting-centred way of making work,” associated with Russian director and teacher Michael Chekhov, to make a play “that emerges first and foremost from the actors’ own impulses”. 

Her second source of insight is bound up with “collaborative or polyphonic characterisation”. She says it’s taken for granted one role is played by one performer. Here, she explores, along with her brilliant ensemble of actors, what might happen if you use multiple actors instead of only one.

Does this daring, instinctual approach work? Yes. Everyone in the small cast of seven is in tune with one another, working in a beautiful, rhythmic way. Rushe’s direction is creative and flowing, with the actors’ movements almost like a dance.

Her three Iagos all have different traits and personalities, from the more bullish and aggressive Iago (an energetic Orlando James), wheedling and manipulative Iago (Michael C Fox, who also composed and performs the music), and charming Iago (an outstanding Jeremy Neumark Jones).

Rather cleverly, Rushe gets her triptych of Iagos to speak in unison, as well as letting each aspect of Iago speak a line or two on their own. One Iago might command the stage, while the other two lurk in a threatening manner. Or, all three Iagos gang up together so you feel the full force of the venom Iago is releasing on various characters, including Cassio (a terrific performance from Ryan O’Doherty), Emilia and Roderigo (both roles played by Rachel-Leah Hosker, who uses an engaging accent for Emilia) and Martins Imhangbe’s bewildered and tortured Othello.

Imhangbe (well known for his role in the hit Netflix series, Bridgerton, which I hope draws in a younger fan base) develops Othello’s character after a gentle start. You experience his agony and confusion, while a posse of Iagos prey on him.

The big surprise of the evening, however, is Rose Riley’s depiction of Desdemona. In a very physical performance, she’s the standout star in how she moves and uses her body to reach out to Othello to try to understand his fury. She’s very comfortable in her own skin and the audience is drawn to her in every scene where she appears.

Other big pluses include fabulous sound design by Ali Taie, with echoes, murmurs and the most resonant storm I’ve ever heard (intriguingly conveyed by dragging a microphone along the floor and upending a bench); good work from fight director Yarit Dor (again, more great use of movement techniques) and from voice and dialect coach Shereen Ibrahim. Lighting by Alex Lewer is simple, but very effective.

Good things come in threes. This production of Othello, which deserves a run on one of the smaller National Theatre stages, is a superb example of this idiom. Do book up now, as seating is limited.

Othello runs at Riverside Studios until October 29

Photo credit: Mark Douet

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