Festival Theatre, Stratford, Ontario, Canada

Laurence Fishburne and Irène Jacob in Othello (1995)

Christopher Eccleston, Keeley Hawes, and Eamonn Walker in Othello (2001)

The Tragedy of Othello: The Moor of Venice

Orson Welles and Suzanne Cloutier in Othello (1951)

Eamonn Walker in Othello (Shakespeare's Globe Theatre) (2008)

Michael Blake

Juan Chioran

Laura Condlln

William Shakespeare

Barry Avrich

Othello

Frightening evil

&apos;Othello&apos;, regardless of any criticisms of considered implausibility (such as for some how easily Iago is believed by Othello and how long it takes for Emilia to come forward) and political incorrectness, is nonetheless one of my most fondly regarded Shakespeare plays. Not just the masterful language, with some of Shakespeare&apos;s most famous lines that have true intensity and poetic meaning, but also the dramatic conflict, both darkly intense and poignant, and one of his most interesting characters in the evil incarnate Iago (Othello too is one of his more interesting titular characters).

Have been very impressed to enthralled by many of the filmed Stratford Shakespeare productions and was very impressed by this production of &apos;Othello&apos;. There are many good things and the best elements are fantastic. Not everything completely comes off successfully (not in a way that&apos;s disastrous though), but when the production hits goodness doesn&apos;t it do so. Once again, there is plenty to enjoy for those that know the play already while being accessible for first time viewers.

So much is great here in this &apos;Othello&apos;. It benefits hugely from the powerhouse performances of Michael Blake and Gordon S. Miller. Blake is intense and moving, his jealousy and anguish not being over the top or too sudden. Miller is the personification of manipulative evil as Iago, one of Shakespeare&apos;s most complex villains played with equal complexity. Their chemistry enthralls and chills. Most of the rest of the cast are very good.

Visually, the production is very striking with the atmospheric lighting being particularly good. Loved the intimacy of the video direction while doing well with opening the drama and ambience up. The use of sound is authentic and haunting. Cohesion is never a problem and the stage direction benefits from strong attention to character detail, especially Iago and for Othello&apos;s descent, and from being intelligent and understanding of Shakespeare. The final scene is very moving. Everything is tastefully done.

Not everything works, with the women cast being not in the same league as the men and part of it is down to the character direction for them is not as interesting. Amelia Sargisson for my tastes was rather too modern and passive as Desdemona.

In conclusion, very good and nearly great. 8/10.

'Othello', regardless of any criticisms of considered implausibility (such as for some how easily Iago is believed by Othello and how long it takes for Emilia to come forward) and political incorrectness, is nonetheless one of my most fondly regarded Shakespeare plays. Not just the masterful language, with some of Shakespeare's most famous lines that have true intensity and poetic meaning, but also the dramatic conflict, both darkly intense and poignant, and one of his most interesting characters in the evil incarnate Iago (Othello too is one of his more interesting titular characters).

Have been very impressed to enthralled by many of the filmed Stratford Shakespeare productions and was very impressed by this production of 'Othello'. There are many good things and the best elements are fantastic. Not everything completely comes off successfully (not in a way that's disastrous though), but when the production hits goodness doesn't it do so. Once again, there is plenty to enjoy for those that know the play already while being accessible for first time viewers.

So much is great here in this 'Othello'. It benefits hugely from the powerhouse performances of Michael Blake and Gordon S. Miller. Blake is intense and moving, his jealousy and anguish not being over the top or too sudden. Miller is the personification of manipulative evil as Iago, one of Shakespeare's most complex villains played with equal complexity. Their chemistry enthralls and chills. Most of the rest of the cast are very good.

Visually, the production is very striking with the atmospheric lighting being particularly good. Loved the intimacy of the video direction while doing well with opening the drama and ambience up. The use of sound is authentic and haunting. Cohesion is never a problem and the stage direction benefits from strong attention to character detail, especially Iago and for Othello's descent, and from being intelligent and understanding of Shakespeare. The final scene is very moving. Everything is tastefully done.

Not everything works, with the women cast being not in the same league as the men and part of it is down to the character direction for them is not as interesting. Amelia Sargisson for my tastes was rather too modern and passive as Desdemona.

In conclusion, very good and nearly great. 8/10.

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