Othello - Theatre Royal Haymarket

*This review will focus on the filmed version that is set to hit cinemas early next month. Details at the end of this review.

Based on the classic Shakespearean tragedy, this production of Othello brings a sort of modern adaptation to the stage. Whilst it is never specified when the show is set, the costumes and set design seem to hint at a relatively modern version.

Othello is a high ranking army general who finds himself being manipulated by his subordinate, Iago, into believing that the love of his life has been unfaithful. As this is a tragedy, it wouldn't truly be a Shakespearean play if things did not end up going terribly wrong for everyone. The first Act is relatively joyful, as we see Othello and his wife positively infatuated with one another, but also seeing the occasional shifts in tone as we see Iago's plan start to form. The second is much darker, showing Othello being taken over by the so-called 'green-eyed monster' until the inevitable collapse feels less like shock and more like tragic inevitability.

Brinkhoff-Moegenburg

Having not seen this production when it was at the Theatre Royal Haymarket, this reviewer was introduced to the show (and yes, to the material itself) through the lens of the camera. Though perhaps limiting the scope of vision at times, this show is all about manipulation and so it felt rather fitting that it be reflected in the camera angles. The choices made were so well thought through and made the shifts, especially in the first act, from the joy of the newlywed couple to Iago's sombre monologues with brilliant subtlety. Filming stage work always risks flattening its scale or losing peripheral action, but here there are remarkably few moments where one feels excluded from something happening beyond the lens. Instead, the cinematic perspective reinforces the production’s thematic preoccupation with control and perspective. Now, whilst this reviewer may not be the most qualified in commenting on the changes made between stage and screen, one can say that there were very few moments where one felt left out of something happening further up stage.

It is worth admitting that this production was not initially on this reviewer’s radar. Shakespearean tragedy can feel alienating; the density of the language often creates distance, particularly for those unfamiliar with the narrative. However, seeing the filmed version of this production may have eased this fear. The casting for this production is breath-taking. With David Harewood in the titular role, and Toby Jones as Iago as well as many other big industry names - one felt in very safe hands watching this. Harewood’s Othello is commanding yet palpably vulnerable, charting the character’s unravelling with measured restraint rather than excess. Opposite him, Jones's delivery is conversational, almost intimate, making the manipulation feel disturbingly plausible. The clarity in their voices, and the artistry in every actor's use of intonations and volume was unlike anything this reviewer had ever experienced in Shakespearean adaptations. Every word, every syllable held a purpose. And whilst this reviewer did sometimes feel lost in the story, the actors’ physical choices and tonal precision re-anchored the audience in its intended trajectory.

Brinkhoff-Moegenburg

The set design by Ti Green is deceptively simple: a series of large wooden frames dominate the stage, reconfigured throughout to suggest both interior and psychological spaces. At one point, the arrangement evokes a triptych, as though the characters themselves are figures suspended within a brutalist painting. The starkness of the design avoids distraction, instead reinforcing themes of surveillance, entrapment, and fragmentation. It is a visual metaphor that never overwhelms the action but consistently sharpens it.

Ultimately, this production does not attempt to reinvent Othello. Instead, it trusts the material while interrogating its emotional architecture. Through disciplined performances, intelligent filming, and an austere yet purposeful design, it renders the tragedy accessible without diluting its complexity. For those wary of Shakespeare, this may not remove the darkness—but it demonstrates that clarity, control, and thoughtful interpretation can make even the bleakest descent compelling rather than alienating.

Production Value: 80%

Personal Enjoyment: 75%

Overall Score: 78% - ⭐️⭐️⭐️⭐️ (4*)

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Show Information

Filmed at: Theatre Royal Haymarket, London

Running in cinemas from March 4th 2026 with dates to be found at this link

Run Time: Approximately 2h50, including a 15-min interval