Review RSC Othello 'frustrating new version despite moments of brilliance'

Othello is back at the Royal Shakespeare Theatre (RSC) starring acclaimed American-British movie actor John Douglas Thompson but it was clear from the moment I entered the auditorium that this would be different.

Director Tim Carroll is at the helm and has pared back the stage with minimal scenery and unusually, not much emphasis on race.

This new version of Othello is running at the Royal Shakespeare Theatre in Stratford-upon-Avon until November 23, 2024.

The tragic tale unfolds of a multi-racial love torn apart by jealousy, when a Black military general is manipulated by his devious aide Iago into wrongly believing his young wife has been unfaithful.

There’s some very recognisable faces from film and TV including Juliet Rylance as Desdemona.

She’s the step-daughter of Mark Rylance known for shows like McMafia and Perry Mason, who is upholding the family name in theatre well if this performance is anything to go by.

Taking the lead is award-winning Douglas Thompson with his soft New York accent.

He’s a safe pair of hands, playing Othello many times before, sharing stages with Denzel Washington and starring in Hollywood blockbusters including The Bourne Legacy, 21 Bridges and Michael Clayton.

He’s 60 now and it’s clear director Carroll has chosen to make both Othello and Desdemona older than you’d expect.

While there’s still an age gap between them, the alluring military general isn’t maybe as vigorous and agile as imagined, while Desdemona isn’t a young girl but in her mid-40s.

They have a tender, mature relationship rather than a lusty one, albeit with long kisses. It makes Othello’s sudden anger and passionate demands for revenge and murder less realistic.

Yet when it comes to the death scene, it’s a masterful piece of direction and brilliant, atmospheric theatre.

The lights go out and the breathless struggle is worse than anything you could have seen on stage.

That’s not the only highlight from this intriguing, unique interpretation, as the exquisite traditional costumes have painstaking detail and it uses music beautifully.

Opening with a chorus of opera singers emerging from behind a shimmering curtain centre-stage, it’s a dramatic start with the music aptly menacing.

There’s more haunting melodies later, especially an emotional scene with doomed Desdemona.

Will Keen’s Iago is chillingly sinister because he’s so casual about his hatred and deadly plans. He’s like a guy chatting down the pub, pulling everyone’s strings. Keen’s understated approach is frighteningly realistic.

Anastasia Hille playing his good-hearted wife Emilia can’t help but attract attention too with her emotive performance. Most will recognise her from shows like Baptiste and I Hate Suzie.

That said, although it’s well acted, and gives a fresh focus on William Shakespeare’s tragedy, the pace is often too slow and the audience are left with little else to excite due to the minimalistic staging.

It’s a simple, dark bare stage with a white light forming a square where the action takes place. Before each scene has ended, the actors for the next are approaching, always staying just outside this bright line.

Waiting in the wings as such, but they are now on stage not backstage. Interesting but also a little distracting.

More unfathomable is a strange scene where the attacks on Cassio and Roderigo aren’t acted out but the cast stand in different lit spots on stage saying their lines.

It felt like I was watching a radio play being recorded and I couldn’t understand why Carroll would choose not to bring this key moment to life.

That’s why I found this new Othello so frustrating and it left me with mixed feelings. Despite the moments of brilliance and a talented cast, there were also stilted scenes when it felt laborious.

There’s a lot to like about this Othello and it is something that feels very unique. Yet, it’s likely to split audiences over its simple approach.

Othello runs at the Royal Shakespeare Theatre at Waterside in Stratford-upon-Avon until November 23. It is just over three hours including an interval. Tickets cost from £8.