Tim Carroll’s direction returns to the Royal Shakespeare Company (RSC) once again for their latest production of Othello. Previously known for his acclaimed RSC debut in 2008 for The Merchant of Venice, it is great to welcome him back to take on one of Shakespeare’s most notable tragedies this season, creating an adaptation that manages to balance the original demands and vision of the play with minimalistic set and thrilling lighting design. Carroll is supported by a hugely talented creative team and cast to bring to life his vision of a play warped in themes of power dynamics, jealousy and identity.

High quality acting is understandably seen in every cast member, as expected with the strong reputation of the RSC, which does not disappoint audiences in the theatrical masterpiece it portrays upon the stage. Will Keen’s characterisation of villainous Iago is a standout performance, perfectly interweaving the cunning and manipulative qualities in a highly skilled form, proving to be consistently gripping to watch throughout the show, especially during his many soliloquies which unlock a deeper level of his characterisation whilst still capturing the audience’s attention. The two protagonists, the titular Othello (John Douglas Thompson) and leading lady Desdemona (Juliet Rylance), are successfully impressive in their debut RSC season. They deliver excellent onstage chemistry throughout the performance, and it will be exciting to hopefully see them return to the RSC in future seasons after achieving well-deserved standing ovations for their compelling characterisations.

Judith Bowden’s design vision is kept purposefully simple to place a greater emphasis on the language at the heart of the play. The stage itself is almost bare of everything other than the actors themselves, not only does this force audiences to concentrate more thoughtfully on the character’s relationships in the play, it also makes the moments when design elements are utilised all the more effective and deliberate. The sliding wall panels at the back are simple and effective, meeting the demands of the multiple locations of Othello and adding interesting levels to the blocking. Paule Constable’s lighting design perfectly complements Bowden’s set, such as casting interesting and ominous shadows onto the stage floor, especially against the curtain-feature of the central box. Use of shadows is brilliantly utilised to create an air of mystery and suspicion, which perfectly supports the core themes of the play. A box of light frames the border of the stage, creating clear-cut boundaries of the perimeters of each scene. The most powerful moment is the sudden switch to complete darkness during heightened moments of the tragedy, which leaves audiences on the edge of their seat at the play’s climax, building a real emotional suspense.

One of the standout scenes is Act Four Scene Three, the moments of female companionship in the leadup to Emilia’s famous monologue about the expectations of women, which is just as relevant nowadays. This scene brings an incredibly soft quality, which beautifully contrasts the heightened violence and manipulation evident in the rest of Othello. Throughout the scene, Emilia (Anastasia Hille) unpins Desdemona’s bodice which creates a visual sense of vulnerability to foreshadow Desdemona’s fate in the final act, whilst also revealing the attention to detail through every layer of her costume as it is gradually stripped away.

Carroll’s adaptation is faithful to the original demands of the play through costume design and character motivation, which draws attention to Shakespeare’s deeply mesmerising and highly emotional language, whilst utilising contemporary elements of theatrical lighting and set design to enhance the mise-en-scène. A striking interpretation of a classic Shakespearean tragedy that has the power to deeply move audiences, a must-see theatrical treats for fans of the Bard.

***** Five stars

Reviewed by: Heidi Downing

Othello plays at the RSC in Stratford-upon-Avon until 23 November, with further info here.