Othello triumphs over a testy Iago

othello HHH

Donmar Warehouse, London,

0870 060 6624, until February 23

THE depth of Shakespeare’s perception of the human condition was never more probing than in his towering tragedy Othello. He explores – with a scalpel – the enduring themes of love, lust, jealousy, rage and race in a work that resonates in today’s world.

The plot weaves around the marriage of Othello, a black general, to the beautiful Desdemona, whom he wrongly accuses of adultery. A revengeful aide, Iago, has wickedly planted the seeds of doubt.

Many black actors shy away from Othello for fear of stereotyping. But Chiwetel Ejiofor grasps the part with fervour and produces one of the most memorable performances in recent years.

His interpretation of the angst-ridden Moor is beautifully judged and we see his jealousy grow, after witnessing an earlier tenderness. The anguish and despair he conveys are deeply moving as he builds up tragedy into a quaking crescendo.

Sadly, the same cannot be said of Ewan McGregor’s take on the devilish Iago. He is a fine actor – his pulling power means £15 tickets are changing hands for £150 to £1,000 on the internet – but lacks the necessary evil. There seems no heart of darkness in his soul. We wanted to smell and taste Iago’s villainy – instead, we get a rather testy young Scot.

McGregor brings an admirable energy to the stage, particularly in the scenes where he is tricking the impressionable Cassio – a thrilling performance by the lanky Tom Hiddleston – and he handles the realistic fight scenes with aplomb.

But where was that wounded sense of crazed revenge the part calls out for? Sadly, it is only hinted at.

Kelly Reilly makes a stunningly beautiful Desdemona and in the early scenes she flutters with all the delicacy of a young bride in love. There is an enchanting lightness of touch as she bathes in the glow of Othello’s dewy-eyed devotion.

But in the gripping later scenes when she is accused of infidelity, her lightness of voice fails to carry the confusion that is engulfing Desdemona. A much earthier panic is called for, one that virtually swallows her up.

There is, though, the quite mesmerising moment when she is slowly disrobed for bed by her cynical companion Emilia. Apart from the sheer sensuality of the scene, it is a fascinating insight into Tudor women’s underwear. All that unlacing takes an eternity.

Michelle Fairley gives us a bold, feisty Emilia and brings a deft touch when she outlines the flaws of men. And her death scene, when she denounces her husband Iago before he murders her, is brutally powerful.

Michael Grandage’s production roars along at a fierce pace against a set, by Christopher Oram, of powerful simplicity. But, as a theatrical milestone, it is Ejiofor’s towering performance as the heartbroken Othello that will be long remembered.

*A version of this review appeared in editions of Wednesdays and yesterday’s Daily Express.