My daughter treated me to a performance of Othello at The Royal Haymarket, a delightful old theatre, even if finding the Gents is like an expedition into the unknown. The present theatre, designed by John Nash, dates back to 1820, when the Prince Regent’s modernisation of the west end moved it from its original 1720 site.
With Toby Jones as Iago and David Harewood as Othello, the play had great promise and did not disappoint. Toby Jones’ performance was outstanding. His deadpan conversational delivery of his evil ideas created the foundation for the humour that characterised the opening part of this production. Laughter is not a response usually associated with Othello, but here it was entirely appropriate. The contrast between Iago’s soliloquies and the manifestly insincere manipulation of Roderigo, Cassio and subsequently Othello was very amusing. At first, I thought the humour would lessen the tragedy, that the apparent weakness and susceptibility of Othello would undermine the tragic consequences of his jealousy. The reverse was true. The way Othello was deceived by Iago’s transparent malice only highlighted his tragedy. That such a noble character should be deceived by such a man telling such transparent lies seemed beyond belief, but the consequences were all too real. Iago’s willingness to stab anyone who got in his way demonstrated that his hatred was not merely about words, but followed up with visceral actions.
Caitlin Fitzgerald’s Desdemona was a modern girl, seeing herself as Othello’s equal, flirting with him publicly in front of the court, and revelling in her sexuality. And, of course, this sexuality and flirting helped Iago play on Othello’s mind. The strong physical bond between the two lovers underscored the tragedy of its unravelling.
The underlying motif of abuse was brought more into the open than in many productions. None of the women were well treated by the men in their lives. Bianca is carelessly tossed aside by Cassio, Emilia abused and struck by Iago and ultimately stabbed for her truthfulness and loyalty to Desdemona. Othello’s physical abuse of Desdemona was shocking. The slap in front of the court was painful, and Desdemona’s astonished response well realised. The final strangulation was graphically portrayed. No quiet smothering with a pillow in this production. Othello is a hands-on murderer, with Desdemona struggling to escape from his grasp, and only failing because of his superior strength. The final snapping of Desdemona’s neck, with a crack audible throughout the theatre, brought a shocked gasp from the audience.
My only quibble with the production was the tendency for Othello, and to some extent Cassio to lose some of the meaning of their lines in their angry delivery of their speeches. Anger, rage, does not have to be delivered at break-neck speed, and can be much more effective when delivered in a more measured cold fury.
Overall, a great night out. And any evening spent with your grown-up daughter has to be a bonus.
Keep writing 