26/12/13
Othello, Review
The National Theatre
The Guardian

The infamous ‘green-eyed monster’ is back with a vengeance in Hytner’s portrayal of Shakespeare’s Othello!
In this tragic tale of trust, deceit and a magical handkerchief, the audience is treated to an interesting and excellent portrayal of Shakespeare’s Othello. Directed by Nicholas Hytner, this play takes a modern day approach, differentiating itself from previous re-enactments. In this interpretation, the cast is dressed in normal, everyday clothing in the scenes that Hytner interpreted as being in “London or a modern cosmopolitan centre”. Followed by a change in costume (for most characters) into military attire when the play is shifted to Cyprus.
Hytner’s road to glory was essentially a U-turn from the original text. His focus was to portray the emotions experienced by characters and to downplay the racial differences. Highlighted when Lester emerges, as confidently as President Barak Obama walking into an important conference, wearing a dark/navy blue suit. The integration of Othello into the rest of the community is witnessed on the army base, when Othello is seen wearing attire that is exactly the same as his Caucasian counterparts. Previous versions such as Jonathan Miller’s 1981 film and Oliver Parker’s 1995 film both focus primarily on the racial difference between Othello and the rest of the cast which, reinforced with Othello often wearing light/white coloured, traditional clothing, which was always dissimilar to other cast members’ clothing. Focusing on racial elements, to some degree, removes the status of the all-important ‘green eyed monster’.
Olivia Vinall’s naïve, teenage school girl approach is a major factor in her eventual demise. Believing that she is indestructible, she attempts to repair Cassio’s shattered reputation. Blissfully unaware that Othello’s mind had been contaminated with thoughts that she was a ‘strumpet’, ‘whore’ and an unfaithful wife, Desdemona attempts to charm and persuade Othello to call Cassio back. However, this backfires, as Othello’s suspicions only intensify, highlighting the fact that paranoia has engulfed him mind. However, the only thing Desdemona can be blamed for is her blinding innocence.
The relationship between the two most important actors’ Othello (Lester) and Iago (Kinnear) is said to either make or break the entire production. Fortunately for Hytner, the notorious duo do indeed make this production. Kinnear portrays Iago in a very particular manner. Iago is seen as being ingenious, resentful and perhaps psychopathic in nature, often infuriating the audience with his mesh of deceit. Nevertheless, to his unsuspecting General, whom believes Iago to be trustworthy, respectful and loyal, Iago is soon able to pour ‘pestilence’ into Othello’s ear. It seems hard to grasp the idea that Othello, a well-respected General, became intertwined in Iago’s sinister plot. Could it really be possible to place a large amount of trust into a character who, never wore his beret or uniform correctly, who smoked and consumed alcohol on stage? It was also noted that other characters, especially Roderigo only smoked/drank when influenced by Iago himself and more often than not, Iago was seen lighting the cigarettes of others. Could this be Hytner’s interpretation of modern day control? Or perhaps subliminal peer pressure? What is evident, is that Iago has complete control over everyone in this play.
Hytner’s efforts at depicting a contemporary realistic approach to Othello is nothing less than excellent. It can be said with great confidence that Shakespeare would have been applauding from the grave.