Othello
The Royal Shakespeare Theatre, Stratford-upon-Avon

WHEN Peter Hall and John Barton launched the RSC in 1960, they were determined to establish not only a permanent company but one with its own style of acting or Method, based on “the word first and the Method second.” This approach produced some of the greatest theatrical productions of the century.

Sadly time and financial strictures have long since replaced the company’s work with a great variety of Shakespeare productions from visiting directors, with some remarkable results but many failing through aiming for eye-catching novelty.

Well, if you want to experience what can be achieved by letting the play speak for itself, get to Stratford to see and hear Tim Carroll’s production of Othello, which personally I have no hesitation in describing as the best of any of the Bard’s plays seen on the main stage in recent years.

Its very simplicity is its strength, with a plain stage, no props (not even a bed), a set backed by a diaphanous screen fronted by a translucent tower, but above all a superb cast determined that every word can be heard and understood. 

Carroll has made no attempt, as so often is the case, to unearth hidden themes which in many cases would even have surprised Shakespeare. This Othello is not an analysis of jealousy but a demonstration of the nature of its process. Consequently, after Iago has explained that he hates the Moor, we no longer concern ourselves with the psychological questioning of his motives as he systematically destroys his victim. This is true “motiveless malignity.”

James Oxley’s a cappella music creates an almost ritualistic setting for the action, while Judith Bowden’s period costumes never disturb the audience’s attention by nudging them to notice contemporary relevance with fatigues or business suits.

However, as all plays depend on the acting, Othello depends essentially on its name character. Here, the British-born, American classical actor, John Douglas Thompson, lives the role as he moves from an attractive if almost arrogant self-confidence, through a childish delight in his young wife, to a demented anguish in the manufactured belief of her betrayal. 

The play has often been seen as Iago’s as he has many more of Shakespeare’s lines. Will Keen makes the most of the part as he reveals his plans to the audience before demonstrating their success – a kind of conspiracy between artist and viewer. 

In a directorial masterstroke in the climax, immediately before the deluded Othello strangles Juliet Ryland’s virginal Desdemona in total darkness, Caroll has Iago involved in killing his two beguiled stooges, Edward Hogg’s Cassio and Jethro Skinner’s Roderigo, with all three delivering their lines in distanced isolation. The words speak the action far more powerfully than any stage brawl assassinations.
 
Along with Pericles in the Swan Theatre, the RSC have two current Shakespearean winners on their books.   

Runs until November 23. Box Office 0789 331 111: rsc.org.uk