With its fibs, delusions and mislaid props, Shakespeare’s Othello is structured almost like farce – one that goes horribly wrong. In performance, cruel comedy and melodrama can lurch to the fore – but Tim Carroll’s sculptural new production stays serious. Intelligent, if too even-toned to thrill, it unfolds with rare clarity.
John Douglas Thompson’s Othello appears the epitome of calm – an unruffled, spellbinding speaker. Beaming when Desdemona arrives, it’s hard to believe their love could falter. Thompson and Juliet Rylance played these same roles in New York in 2009; the now mature casting (also including Edward Hogg’s ill-at-ease Cassio) would suggest cool heads who could easily resolve misunderstandings. These are no callow naifs – but that won’t save them.
