Tom Morris‘ production of Othello at the Theatre Royal Haymarket is a striking, star-powered rendition of Shakespeare’s tragedy — one that leans heavily on its cast’s strengths, even as some of its artistic choices feel cautious or uneven.

David Harewood is phenomenal as Othello, reprising the role after 30 years. He is powerful, poised, and heartbreakingly human. He starts the show with commanding confidence and lets it slowly crack apart in a way that feels painfully real. His emotional control is incredible; every shift in his performance lands hard.

Toby Jones is just as compelling, giving us a brilliantly understated Iago. He’s quiet, friendly, almost disarming — which makes his manipulation feel even more sinister. Jones plays him like someone who enjoys the chaos he creates, and watching him subtly pull every string is one of the show’s biggest highlights.

Performances across the cast vary, though. Caitlin FitzGerald’s Desdemona, while graceful and sincere, doesn’t always land with the emotional intensity the role demands. Her softness works beautifully in the tender moments, but in the later scenes — where fear, confusion, and desperation should feel raw — her performance feels a bit muted. There’s a sense that the character is present but not fully lived-in, especially compared to the powerful performance from Vinette Robinson, whose Emilia brings a late-play surge of fire and honesty that nearly steals the show.

The set (Ti Green) and lighting (Richard Howell) design deserve real praise. The production opens with grand, classical arches that give the stage a sense of scale and prestige. As the tension builds, those arches subtly fracture and distort, creating a visual metaphor for Othello’s unraveling world. The lighting follows suit — warm and open in the early acts, then increasingly sharp, shadowed, and oppressive. By the final scenes, the visual atmosphere alone does half the emotional work.

The music in this production, composed by PJ Harvey with Jon Nicholls adds atmosphere but doesn’t always make a strong emotional impact. It leans heavily on ambient textures and low, simmering tones that create tension without ever fully driving it. In the quieter moments, the score works well, subtly underscoring the unease that grows between the characters. But in the bigger dramatic beats, the music feels somewhat restrained—more of a background hum than a force shaping the emotional landscape. It supports the production, but rarely elevates it.

Overall, while Othello sticks to a more minimalistic vision, I do wonder if it wasn’t executed in the manner it was in this production, would it remain as gripping throughout? The craftsmanship, atmosphere, and central performances alone make it a production worth seeing, even if some of the emotional peaks don’t hit as hard as they could.

⭐️⭐️⭐️⭐