Review: Tom Morris' "Othello" at the Theatre Royal Haymarket, London

In December of 2025, I had the privilege of seeing Tom Morris' rendition of Shakespeare's "Othello", performed at the Theatre Royal Haymarket in London's West End, starring David Harewood (Othello), Toby Jones (Iago), and Caitlin Fitzgerald (Desdemona).

It was a spur of the moment decision, as I happened to be passing through London and decided, for the first time in my life, to see a theatre production in one of Europe's renowned capitals of the arts. Imagine my pleasant surprise when I was able to book a ticket two days in advance of a showing, and still have a choice of proximity to the stage. Perhaps it was fortune, or perhaps it's a reflection of the declining interest in classical storytelling among the newer generations. The West is suffering a literacy crisis, has this progressed to theatre as well?

I was familiar with Toby Jones as a film actor, and his involvement in this production further convinced me to purchase a seat. And I can say, with full confidence, that with the right company and talent, Shakespeare doesn't cease to impress and inspire all these centuries later.

Jones' character, Iago, a standard-bearer to the Moorish general Othello on a Venetian outpost in Cyprus, plots to destroy his superior out of envy for his militaristic success, given Othello's racial background at the time of the play's setting. The ensign proudly schemes to us, the audience, how he will convince the general of his beautiful wife's - Desdemona's - unfaithfulness, spiralling the man into blind, bloodthirsty vengeance. And while his motives remain ulterior and traitorous, Iago's quips and their delivery by Jones became the most entertaining moments of the entire play.

Becoming familiar with the source material is always advised prior to watching one of Shakespeare's plays, as the elevated and beautiful dialogue can be a challenge to follow. This wasn't an option to commoners or nobles in the playwright's time, and not to me, and I enjoyed the piece regardless.

Many artistic choices, while questionable, are justified. The choice to clothe the actors in modern regalia and garments allows fans to rediscover the story while recalling the timeless lessons Shakespeare so often taught in his works; warnings against envy, paranoia, deception, and power. The focus is also redirected towards the performances, which were mature and powerful, far removed from amateurish interpretations. This is Shakespeare; Harewood and Fitzgerald were especial standouts that clearly recognised this in their acting.

The set design had its own spin on the "picture frame" motif, placing golden frames overhead and on the stage to communicate the regal historicity of the personages on stage when they are first introduced, before shifting and introducing darker arches and squares that suggest the skeleton of a building. In theatre, minimal set design can be used very effectively, saying just enough while still keeping the focus on the actors' performance.

Through no fault of the production nor its director, the story does start to drag within its second half. Many of Othello's painful ruminations continue long past the rule of narrative catharsis, and while Iago's lengthy manipulations are realistic, brevity could be favoured. I am, as many writers, in nowhere near the position to judge a genius like Shakespeare, but I personally cannot deny what felt like a less cohesive experience, one which might have been shortened, once upon a time.

Overall, the efforts by all parties in this full, uncut recreation of Othello are undeniable in their eminence. From the poignant orchestral soundtrack, to the professional stage direction, and the powerful acting, this was certainly a once-in-a-lifetime experience. If I am ever in London again, I will remind myself, as I would encourage others, to seek out a West End production. It will not disappoint.