PATRICK MARMION reviews Othello’s first night at the Theatre Royal Haymarket: Encore for Homeland’s David Harewood as he makes a silky smooth return to the role

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Othello 

Theatre Royal, Haymarket 

David Harewood is a familiar face to many, thanks to his role in the popular series Homeland, where he acted alongside Claire Danes and Damian Lewis.

But until you’ve seen him on stage, you can’t appreciate what a class act he really is.

What could be a better role to highlight his incredible talent than Othello, the Venetian general from Shakespeare? He’ll be acting with Toby Jones, known for his role in Mr Bates vs The Post Office, who plays the deceitful Iago.

At 59, Harewood is revisiting a role he first played in 1997, when he made history as the National Theatre’s first Black actor to take on the part.

He’s initially deeply in love with his new wife, Desdemona (played by Caitlin FitzGerald, known from the TV series Masters of Sex), but quickly descends into wild jealousy manipulated by Iago, portrayed by Jones.

Harewood draws on his personal experience with psychosis to portray Othello’s descent from a confident and charming man into one consumed by jealousy and violence. Initially presented in a striking uniform – a crisp cream suit with red shoulder decorations – he appears gentle, refined, and loving, but ultimately proves to be trusting to a fault and easily manipulated.

His dry, imperious and oracular tones duly start to quaver with vulnerability and doubt.

Jones, meanwhile, is a flea in his ear.

Despite his small stature, he’s remarkably clever and mischievous, subtly manipulating situations and people around him. He carefully plans his schemes while also improvising, and the audience finds themselves strangely enjoying his sly, spiteful actions before he suddenly leaves them stunned.

Despite the energetic staging by Tom Morris, the play’s conclusion still feels somewhat unresolved, and the music by P J Harvey, while interesting, occasionally draws attention away from the action.

FitzGerald portrays a powerful, assertive Desdemona, a woman of strength (standing only two inches shorter than the six-foot Harewood), and avoids depicting her simply as a helpless or passive character.

But her story still climaxes in chilling domestic violence.

Even with strong performances and a beautifully changing set, the play remains an unsettling and ethically questionable melodrama.

  • Othello is booking until January 17.

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2025-11-05 04:06