Star Power Shines Through Uninspired "Othello" Revival on Broadway
Broadway is currently gripped by "Othello" fever, with tickets to the Ethel Barrymore Theatre proving incredibly difficult to secure. The allure is readily apparent: a formidable pairing of Denzel Washington and Jake Gyllenhaal anchors this revival of William Shakespeare’s timeless tragedy. However, while the performances are undeniable highlights, the production itself, directed by Kenny Leon, feels disappointingly uninspired, leaving a sense of untapped potential hanging in the air.
This marks the first Broadway revival of "Othello" in over four decades, placing a significant weight of expectation on its shoulders. The play, of course, follows the tragic downfall of Othello (Washington), a highly respected general in the Marine Corps. Driven by jealousy and manipulated by the insidious Iago (Gyllenhaal), Othello’s trust and reason crumble, leading to devastating consequences. Iago, a junior officer seething with resentment after being overlooked for a promotion, expertly poisons Othello’s mind against his innocent and virtuous wife, Desdemona (Molly Osborne), falsely accusing her of infidelity with the handsome lieutenant, Cassio (Andrew Burnap).
While the production’s overall vision might be lacking, the strength of the cast cannot be overstated. Molly Osborne delivers a poignant portrayal of Desdemona, capturing her bewilderment and anguish as she grapples with her husband’s baseless accusations. Her performance is imbued with a delicate vulnerability that makes Desdemona’s tragic fate all the more heartbreaking. Andrew Burnap is equally compelling as Cassio, bringing a captivating blend of charm and pathos to the role. He manages to make Cassio both likable and pitiable, showcasing the character’s inherent decency while highlighting his vulnerability to Iago’s machinations. Kimber Elayne Sprawl shines as Emilia, Iago’s defiant and increasingly disillusioned wife. Sprawl imbues Emilia with a fierce intelligence and a growing sense of outrage at the systemic oppression of women, making her eventual act of rebellion all the more powerful.
Denzel Washington, a seasoned Shakespearean actor with acclaimed performances in "Coriolanus," "Macbeth," "Julius Caesar," and "Much Ado About Nothing" under his belt, initially seems to struggle finding his footing as Othello. In the opening scenes, his delivery can feel rushed, his enunciation occasionally unclear, and his movements somewhat listless. However, as the play progresses and Othello’s insecurities begin to surface, Washington’s performance gains momentum and depth. He masterfully portrays Othello’s growing anxieties stemming from his race and age, allowing the audience to witness the character’s gradual descent into paranoia and rage. By the play’s climactic scenes, Washington’s Othello is a force to be reckoned with, his grief and fury palpable, holding the audience captive in a ferocious grip until the inevitable tragic conclusion.
Despite Washington’s undeniable stage presence, it is Jake Gyllenhaal who truly commands attention in this production. Although a well-established Hollywood star, Gyllenhaal has often been perceived as somewhat underappreciated within the industry, his BAFTA Award for "Brokeback Mountain" in 2006 standing as a notable exception to a lack of major accolades. In this portrayal of Iago, however, Gyllenhaal delivers a career-defining performance that showcases the full breadth of his talent. He embodies Iago’s burning resentment, cunning manipulation, and chillingly dark humor with a mesmerizing intensity. Even in moments of quiet observation on the periphery of the stage, Gyllenhaal’s eyes blaze with a bitter thirst for vengeance, captivating the audience and holding them in thrall to his character’s malevolent machinations. His Iago is not merely a villain but a complex and deeply disturbed individual, making his actions all the more terrifying and believable.
Given the exceptional talent of the ensemble cast, it is particularly disappointing that Kenny Leon’s direction feels so underwhelming. Known for his skillful work on productions like "Our Town" and "Purlie Victorious," Leon’s staging of "Othello" lacks a distinct vision and often feels like an afterthought. The production attempts to modernize the setting, placing the story in a vaguely defined "near future." However, the costuming choices are jarring and incongruous: the male characters are dressed in attire resembling that of modern-day Murray Hill residents, while the women’s clothing evokes a Talbots catalog aesthetic. The overuse of army fatigues in contemporary Shakespearean productions has also become a tired trope, further contributing to the production’s lack of originality.
Derek McLane’s scenic design is equally unremarkable, consisting primarily of movable columns that fail to create a compelling or evocative environment. While Natasha Katz’s lighting design does offer moments of visual interest, particularly in the second act as the violence intensifies and stunning silhouettes emerge, it is not enough to elevate the production’s overall aesthetic.
One could argue that the minimalist staging is a deliberate choice, intended to keep the focus firmly on the actors and their performances. However, in the wake of other recent Shakespearean productions, such as the "Macbeth" starring Daniel Craig and the "Romeo and Juliet" featuring Rachel Zegler, that suffered from similarly muddled direction, it raises the question: is it too much to expect a Shakespeare revival with a clear and insightful directorial vision that brings something new and meaningful to the text?
While this production of "Othello" undoubtedly benefits from the star power of Washington and Gyllenhaal, and features strong performances from the entire cast, the lack of inspired direction and a cohesive design ultimately prevents it from reaching its full potential. It is a production that offers moments of brilliance but falls short of delivering a truly memorable and impactful theatrical experience. "Othello" is currently playing at the Ethel Barrymore Theatre (243 W. 47th Street) with performances scheduled through June 8, 2025.
