Othello – Riverside Studios

The features which set this production of Othello apart are its length, only 100 minutes without an interval, and the casting of three actors to play the villain Iago. 

A full production of the Othello text would probably run to about three and a half hours although few productions are totally uncut.  So, cutting it down so severely inevitably means that a lot of the background and subtlety of Shakespeare’s text is lost, although the main plotline was preserved and presented in Shakespeare’s language.

The casting of the three Iago’s was the defining characteristic of this production.  The director Sinead Rushe, had apparently explored a similar methodology with Hamlet and says in an informative interview in the programme that this was intended to underline the conflict within Iago after being overlooked for promotion by Othello who he loves.  It worked well.  The three actors playing the villain Michael C. Fox,

Orlando James and Jeremy Neumark Jones worked very well as a team moving together and conspiring with each other.  There was no time when they were not on the stage together.

In her interview Rushe says that by breaking the character into three who talk to each other rather than to the audience prevents the situation that occurs in many productions where the evil but humorous villain elicits a stronger relationship with the audience than does Othello. I am not sure this was the case.  I was drawn continually to the way the three Iago’s worked together and felt it diminished rather than enhanced the role of the other characters.

The standout performance in this production, however, was Martins Imhangbe in the title role.  He had every bit the stature of a renowned general and was a commanding presence whenever he appeared. Although it is always difficult in this play to understand exactly why Othello becomes so unreasonably jealousy of his wife, Imhangbe handled it well and his eventual despair when he realises the results of his thoughts and actions was moving.

The play was performed in the round with the audience on three sides on a large oblong bare stage, with only a minimum of furniture being moved by the cast.  With only seven in the cast (three of whom were Iago) the playing area did feel a bit empty at times. The play had some nice effects, for example, the way in which the cast worked together to create the scene of the storm at sea, which dispersed the Turkish fleet.  Lighting and sound were used very effectively, in the drunk scene and fighting/death scenes,  where the lights would dim to blackness , then quickly come back to reveal the cast in positions a few (theatrical) minutes later.

This is quite an easy production to follow and it was fast moving and on press night the audience’s attention was held throughout.

Playing until 29th October.

Reviewer: Paul Ackroyd

Reviewed: 6th October 2023

North West End UK Rating: