We round up the reviews for Tom Morris’s production starring David Harewood, Toby Jones and Caitlin FitzGerald.
The Stage: *** “David Harewood and Toby Jones star in Tom Morris’ overwrought staging.”
The Guardian: *** “Harewood’s Othello holds your attention with his physical presence and imperial quality, the sniffs, smirks and tics in the lead up to his murderously wounded rage. He is so captivating to the other characters that they are frozen as he tells of meeting Desdemona at the start. He woos them, and us.”
The Independent: *** “David Harewood reprises the titular role in a starry production that grants more power to the play’s women, but ultimately dulls its edge.”
The Standard: *** “What we have here is stately West End Shakespeare, well-spoken and measured, directed by Tom Morris and designed by Ti Green in a way that feels curiously adrift from the modern world. The production could have happened in the 1990s, the 1970s, probably the 1950s: even PJ Harvey’s bizarre and sporadic score seems quaint.”
WhatsOnStage: ** “But the three central performances, all in their different ways, fail to gel. Harewood’s Othello is impressive in stillness; the moments when he is gazing at Desdemona full of wonder hint beautifully at the depth of feeling he contains. But there’s no directorial attempt to explain his sudden loss of confidence in her – always the crux of any Othello – or the moment when Iago’s poisonous insinuations suddenly infect him.”
London Theatre.co.uk: *** “Harewood has a wonderfully wicked scene partner in Toby Jones. He’s a versatile character actor, of course, but after his recent turn as the wholly good justice warrior Mr Bates in ITV’s exposing of the postmaster scandal, and as gentle, downtrodden Uncle Vanya in his last major stage role, his Iago is a welcome reminder Jones can also play thoroughly bad.”
Time Out: *** “It is slick and entertaining, though, with Harewood and Jones both speaking the verse with pin-sharp lucidity. Also good is FitzGerald as Desdemona. The character is usually young and often drippy, but here she’s a self-confident middle-aged woman whose forceful attempts to reason with her husband only serve to underscore his refusal to afford her the same respect. “
The Reviews Hub: *** 1/2 ” But it is refreshing to see a West End Shakespeare production that is not afraid to stick with a relatively conventional approach, allowing contemporary hues to emerge organically rather than feel tacked on and over-emphasised. This Othello has the original writer’s voice, but with a timbre all its own.”
Everything Theatre: ***** “Harewood brings both gravitas and grace to Shakespeare’s renowned moor. His own publicly acknowledged understanding of masculinity, mental health issues and torment have undoubtedly contributed to this memorable, sensitive portrayal of a powerful man, distraught by perceived deception. It is remarkable in every facet.”
The Upcoming: **** “Tom Morris’s Othello is excellently cast and seamlessly directed, though in its smoothness does not rock the boat as much as it possibly could. The show promises Shakespeare, and delivers exactly that, with comedy and tragedy in equal measures.”
The Telegraph: **** “Stellar performances anchor this compelling production, which features David Harewood returning to the title role.”
All That Dazzles: ***** “There is no other way to put it – Othello is a triumph. The direction, the design and the lead performance make one of the strongest plays of the year”
City Am: **** “Morris’ production is sparse, occasionally to the extent that it feels Fringey, but mostly it’s straightforwardly effective and works to platform the acting.”
Theatre & Tonic: ***** “I came to this show knowing that I find Othello a difficult watch, and came away feeling this was one of the best, most consistently well-executed Shakespeare adaptations I’ve ever seen. It doesn’t reinvent the play; it doesn’t need to – rather, it reminds you why this is such an impactful, important play in the first place.”
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