Tom Morris’s staging of Othello at the Theatre Royal Haymarket, starring David Harewood as Othello and Toby Jones as Iago, delivers a visually captivating yet emotionally uneven experience. The production dazzles with its pace and design but loses balance on the moral gravity that lies at the heart of Shakespeare’s tragedy.
At its core, Othello examines what happens to upright, moral individuals when confronted with the presence of true wickedness. This central theme demands that the force of evil be strong and unmistakable to expose the fragility of goodness.
Ti Green’s set design—with its suspended arches and shifting mesh screens projecting the turmoil inside Othello’s mind—creates an atmosphere of tension and beauty. The performances unfold within this hypnotic space, and the crisp pacing makes nearly three hours pass effortlessly, a rare achievement for Shakespearean theatre.
Despite its technical skill and entertainment value, the production softens the moral clash between good and evil. This imbalance shifts audience sympathy away from its rightful place, reducing the tragedy’s emotional depth.
Toby Jones, celebrated nationwide for roles such as his recent turn in Mr Bates vs The Post Office, brings charisma and precision to Iago. His scenes are compelling and often perversely delightful.
His asides to the audience outlining his plan to ruin other people’s lives for the hell of it captivate and delight.
Yet Iago’s charm and humor make him too endearing, blurring the stark contrast between corruption and integrity that Shakespeare intended.
While Tom Morris’s Othello thrives as high-quality entertainment, it misses the tragic force that should define the story of a good man destroyed by evil’s deceit.
Author’s summary: A dazzling yet morally diluted production of Othello—visually stunning, sharply paced, but missing the dark heart that gives Shakespeare’s tragedy its enduring power.