Othello, one of William Shakespeare’s great tragedies, plays at the Royal Shakespeare Theatre this season. The pared-back production features John Douglas Thompson in the title role, as ‘The Moor of Venice’ - the only explicitly Black lead character written by Shakespeare - and Will Keen as the antagonistic Iago.

The story begins with Iago asserting in the first of many devious speeches and monologues that he hates Othello, for a variety of reasons - not least because he has recently been passed over for promotion. Instead, Cassio (Edward Hogg) has been raised to the rank of lieutenant and, adding insult to injury, Othello has married the beautiful Desdemona (Juliet Rylance). Everyone is sitting pretty - except Iago. 

Plotting revenge, he begins to plant seeds of jealousy in Othello’s mind, using his status as a trusted and loyal companion to sway opinions and manipulate events. Initially, when faced with chaos and conflict, Othello is in his element - John Douglas Thompson offers a commanding stage presence, making it clear why Othello has risen to such an esteemed position. 

In comparison, Will Keen’s Iago appears quiet and restrained. He doesn’t rage against his enemy, but instead plots and plans, with frustration and anger bubbling away under the surface, as he blends into the background. 

Rylance’s Desdemona is devoted to her husband, while retaining a strong will and sharp wit that elevate the character to an equal standing among the big political and military presences on stage. With Iago’s wife Emilia (Anastasia Hille), the pair provide one of the most moving scenes in the production, as Desdemona is being undressed for bed.

Director Tim Carroll seems to have tailor-made a theatrical environment for in-depth character studies - flashy action sequences take a back seat, and instead there is a real emphasis on the text and subtext of the play. Judith Bowden’s set and costume design is minimalist and austere - with a selection of visual effects and trickery conjured up on an ostensibly empty stage. 

The design and direction feels fitting for a play in which most of the action is driven by one man’s determined, personal vendetta - but there were a couple of moments crying out for a loud clash of personalities, or even swords. Instead, complex inner thoughts are laid bare, and the words take centre stage. The production has set out to extract every drop of tension along the way, enabled by great performances, and innovative design.

Reviewed by Jessica Clixby