The Stage

Othello

Published Monday 26 October 2009 at 11:35 by Gareth K Vile

Despite a ferociously fast opening, and a brave decision to frame Desdemona as a tomboy, Guy Hollands’ direction is deeply reverent to Shakespeare’s text.

Sarah Haworth (Desdemona) and Jude Akuwudike (Othello) in Othello at Citizens' Theatre Photo: Eamonn McGoldrick

Othello’s fate is slowly revealed, Iago gets the laughs and best lines without really engaging the audience and the modern costumes never open up a relevant reading. This is solid Shakespeare, relying on the play’s language and structure rather than any new interpretation.

Jude Akuwudike has a powerful physical presence as Othello, especially as jealousy reduces him to a feral despair. His English diction, set against the Scottish accents of the rest of the cast, is a sharp comment that connects the play’s racial politics to modern nationalism. Yet his delivery often stumbles, while Andy Clark’s Iago is more convincing in his wickedness than his guile.

The stark set from Philip Witcomb - essentially two mobile walls - allows a rapid pace, segueing one scene into the next, and the ensemble keeps the action moving steadily, without investing any urgency.

The final murders are horrific and pitiful, and Sarah Haworth discovers the pious fragility in Desdemona’s struggle for life. If the second half convincingly draws a clear picture of Othello’s descent into madness and the social chaos this causes, it still lacks intensity.

Overall, the production is workmanlike. The narrative is unveiled coherently, the supporting cast are strong and Philip Cairns lends Cassio an appropriately innocent charm. Yet by assuming that the play is enough to carry the evening, this remains a safe rather than gripping production.