At the Royal Shakespeare Theatre in Stratford-upon-Avon, John Douglas Thompson and Juliet Rylance reprise their roles as Othello and Desdemona, while Will Keen delivers a performance filled with bitterness as the shaven-headed Iago.
In this latest production of Shakespeare’s “Othello,” directed by Tim Carroll, the play’s elements of deception, delusion, and misplaced expectations are laid bare, creating an experience that, despite its darker themes, prioritizes seriousness over farce. Although the performance is intellectually engaging, it occasionally lacks the dramatic highs that might captivate audiences.
Thompson’s portrayal of Othello is strikingly composed, delivering his lines with a magnetic calmness that makes it hard to believe any cracks could appear in his relationship with Desdemona. Having previously taken on these roles in New York in 2009, both he and Rylance now bring a maturity to their characters that suggests they are seasoned enough to navigate misunderstandings. However, their experience doesn’t shield them from tragic outcomes.
Will Keen’s Iago is particularly noteworthy, exuding an air of menace with his subtle, snide remarks that seem to deflate others’ confidence. Clad in a plain uniform, he maintains an unsettling calm, his only sign of unrest manifested in his fingers drumming against his scabbard, delighting in the notion that Othello will not find solace again.
The cruelty in Iago’s dialogue stands in stark contrast to his soft-spoken delivery. Similarly, as jealousy consumes him, Othello’s sorrow becomes palpable; Thompson’s expression of “I will tear her all to pieces” rings hollow, his anguish laid bare. Carroll expertly explores the complex interior lives of his characters, revealing glimpses of affection between Thompson and Rylance even in the midst of escalating tragedy.
James Oxley’s poignant a cappella score complements the somber Jacobean costumes that range from bearded figures to stoic boots. The set, designed by Judith Bowden, features a descending canister of tight threads that symbolically ensnares characters or represents the thickets of their troubled imaginations. Paule Constable’s lighting enhances the drama, casting shadows on the textured backdrop while illuminating the characters in striking beams.
Supporting performances include Colin Hurley as a verbose and impulsive father to Desdemona and Anastasia Hille as Emilia, who evolves from a state of distress to unexpected courage. Uniquely, Carroll chooses not to frame “Othello” strictly as a racial tragedy; instead, he maintains a steady focus on the fragility of human nature.
The production runs at the Royal Shakespeare Theatre until November 23.
