When it comes to Shakespeare, the plot is never a secret. It's rarely a particular shock as to what happens at the end of the play so the trick with brand-new productions is creating something that is still able to surprise the audience, whether that is through modernising the set or costumes, through a unique choice in direction or by celebrating a story that has stood the test of time by some 500 years or more. It is with Othello that the National Theatre chooses to acknowledge the many productions of the same story that have come before, and offer a return to pure actor performance by stripping back the set and focusing more on the emotions that make this story of jealousy and misunderstanding so compelling.

As you enter the Lyttleton theatre, you are confronted with Chloe Lamford's brutalist amphitheatre, a modernisation of the original stone Greek theatres where tragedies would play out. It is onto this that a collection of posters from previous productions of Othello are projected, fluctuating from one to another. It's an interesting choice and sets the stage for a production that is aware of those that have come before, but this idea isn't referenced again once you're into the piece, which we feel is a shame to almost abandon what could have continued to elevate the piece even more.

The scenery allows the performances to take... well... centre stage; and deservedly so: Giles Terera take us on Othello's journey from confident and in control as he slips gradually into a madness that is his own undoing. Each stage of his emotional through line is laid bare to the audience incredibly well. Terera invites us into Othello's mind with ease, and allows the most integral piece of the story to be not just understood, but with intense detail.

This is also thanks to Clint Dyer's incredible direction of this production. It's clear to us that these ideas had been brewing in his mind long before this show had been announced or booked in at the National. There are choices ranging from huge to minuscule details that may well be missed by some audience members. Regardless, the details are still there to be uncovered and when you're able to catch something, the story is deepened further. It's a brilliantly nuanced work that would probably take multiple watches to appreciate all the layers of thought that have gone into it.

Principal cast members such as Rosy McEwan (Desdemona), Paul Hilton (Iago) and Tanya Franks (Emilia) offer incredible performances all round too. McEwan offers a stronger, more resilient Desdemona which is refreshing to see and Hilton is brilliantly cunning and more than just a caricature of someone just scrambling for a promotion; his actions as puppet master to all events in the play seem to have a deeper origin, there's a sense of a 'greater plan' about him that motivates his every move. It's deeply engaging to watch.

The surrounding ensemble, each and every one named as individual roles and a greater "system" in the programme, help to pull off this vision. As they emerge from the outskirts and move into the playing space, they offer an ever-present threat of unease. You're always on edge throughout as this production keeps the tension brewing at every moment.

For those of you looking to be challenged, engaged in an age-old epic tale of jealousy and systems of power, you'll find what you're looking for at the Lyttleton this Winter.

**** Four stars

Reviewed by: Callum Wallace

Othello plays at the National Theatre until 21 January 2023, with tickets available here.