‘Othello’ Theater Review: Denzel Washington and Jake Gyllenhaal Bring Star Wattage to Middling Revival Otherwise Short on Electricity

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Denzel Washington‘s charm is undeniable. He commands presence with an assertive authority that resonates deeply due to the powerful tone of his voice. The two-time Academy Award winner serves as the main draw for spectators, who are willing to spend over $900 to witness Kenny Leon’s less-than-potent revival of Othello on Broadway. In this production, Washington portrays the Venetian general, often referred to derogatorily as “the Moor.” He exudes a steeliness that suggests a man who has overcome casual racism through his military achievements. However, his performance lacks a clear motivating force, which reflects the overall weakness of the production.

The contemporary version of Othello, elegantly dressed with a vague sense of depth, is skillfully arranged on a decaying backdrop of grand classical design by Derek McLane. Instead of a broader theme, Director Leon merely hints at the setting being “The Near Future,” as a projector reveals initially. However, this idea serves only as a minimal concept for the production.

In this production, Jake Gyllenhaal delivers a compelling portrayal of Shakespeare’s infamous villain, Iago. He effectively conveys the seething hatred and resentment that pulses through Iago’s minor officer character, while also capturing his petulance upon being overlooked for promotion by General Othello. Moreover, Gyllenhaal adds hints of insidious charm to his manipulative actions, making it believable why many are so easily deceived by him. This charisma contributes to the widespread belief of Iago as “Honest Iago.

However, despite the vivid portrayal of relentless ambition, betrayal, and naivety that seems to cast a dark shadow over the pain and suffering shown in the climactic scene, it strangely lacks lasting impact in this instance.

After watching Othello, if you find yourself primarily impressed by the performances of the actors portraying Cassio and Emilia, then there seems to be an imbalance in the play. These supporting roles gain a sense of life and emotional resonance due to Andrew Burnap and Kimber Elayne Sprawl’s exceptional acting. However, the subtle manipulations of Iago aimed at discrediting Cassio by planting jealousy in Othello’s mind don’t often create tension or drama.

Tony-winning actor Denzel Washington delivers outstanding performances on the stage, as evident by his occasional appearances on Broadway every ten years, showcasing his exceptional talent in plays like August Wilson’s “Fences.

In “Julius Caesar,” Brutus was a deep thinker, motivated by causes greater than himself. In “A Raisin in the Sun,” his character pulsed with the restless determination of a man unwilling to let go of his unattainable aspirations. As Hickey in “The Iceman Cometh,” he skillfully revealed the character’s internal struggles, from arrogant bravado to hypocritical sermonizing to crushing despair, with precision and finesse.

(Additionally, he delivered a captivating performance as Macbeth, wrestling with the doubts of someone trapped in a storyline that becomes unmanageable, in Joel Coen’s 2021 movie titled The Tragedy of Macbeth).

In Washington’s performances on stage, his charisma shines brightly, yet he consistently supports a harmonious collective. However, this harmony isn’t always present in the production under discussion, especially during the sluggish first act. During this part, it appears as though the actor is merely going through the motions, saving his energy for the intense scenes where Othello’s jealousy boils over into a frenzy of near-madness and aggression.

However, the character rarely forms connections – neither with Iago, who takes advantage of his misguided trust, nor Desdemona, who is falsely accused of infidelity. Desdemona is not one of Shakespeare’s most powerful female roles, and despite Molly Osborne’s frequent performances on the London stage, her portrayal of self-assuredness and vulnerability lacks depth, resulting in a rather dull performance that fails to leave a lasting impact.

After the break, Washington doesn’t fully ignite. Doubts and suspicions of deceit slowly erode his mental stability, hinting at a more profound portrayal. However, the chokehold scene, where Othello is past reasoning and unable to heed his wife’s heartfelt denials, ought to be as impactful as it is startling. It’s evident that he still harbors love for Desdemona, despite the falsehoods he has been given.

During the initial showing of the play, occasional laughter from the audience seemed to indicate that some spectators were perhaps too awestruck by the celebrity presence to fully appreciate the subtleties of Othello, a profound tragedy. It’s unsettling to hear giggling when Othello, who has become Iago’s victim and is filled with sorrow and regret, leans in to plant kisses on his wife’s forehead as he takes her life (“One more, one more … One more, and this the last”).

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In the first performance, laughter from the audience suggested that some spectators were starstruck and might not have been fully attentive to the depth of Othello, a tragic play. It’s disconcerting to hear chuckles when Othello, who is being manipulated by Iago and is filled with sorrow and remorse, leans in to kiss his wife before taking her life (“One more, one more … One more, and this the last”).

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Throughout the first performance of Othello, a tragic play, there were moments when laughter from the audience indicated that some spectators might have been too starstruck to fully grasp its nuances. It’s disturbing to hear giggling when Othello, who has become Iago’s victim and is filled with sorrow and regret, leans in to kiss his wife before taking her life (“One more, one more … One more, and this the last”).

The arrangement of this particular scene is puzzling, as a heavy, misty curtain veils the entire stage before the bedroom area, accompanied by music reminiscent of 1950s Hollywood melodramas. This visual element seems to clash with the overall minimalist aesthetic, and it’s hard not to notice the contrast between this style and the techno rhythms that usually mark scene transitions.

As a fan, I’ve witnessed Leon’s brilliance as a director, particularly in his collaborations with Denzel Washington on Fences and A Raisin in the Sun. However, in this particular production of Othello, it seems that Leon falters, evident from the outset with the questionable choice to suspend the handkerchief – an important family heirloom – mid-air, only for it to flutter offstage as the play commences. This gimmicky effect feels more like a flashy magic trick rather than what the production truly requires: a clear and compelling perspective.

In this production, the director encourages his actors to swiftly move through each scene, giving the impression that speed alone can create intensity. Important conversations are sometimes handled casually, particularly in Othello’s famous soliloquy, “It is the cause, my soul,” where Iago’s deceitful suggestions have taken hold, and Othello justifies his actions by believing he’s doing what’s righteous. The absence of grandiose oration is commendable, but at times, the actors’ delivery fails to capture the beauty and emotional depth in the dialogue.

As a gamer, when I delve into the initial sequences, I can’t help but notice the raw racism portrayed by the character Iago, who spews insults about Othello with obvious contempt. I understand that revealing the general’s secret tryst with Desdemona would incite the anger of her father, played by Daniel Pearce. However, disregarding color-blind casting, it seems contradictory for a man married to a Black woman to harbor such open prejudice.

Fortunately, Sprawl delivers a compelling portrayal of Emilia, Iago’s wife, in “Girl From the North Country,” showing her with an unwavering intellect, sharp intuition, and a strong-willed spirit, along with undeniable loyalty towards Desdemona.

In this production, her scenes stand out as notable peaks, alongside those of Burnap, who won a Tony for The Inheritance and is currently starring in Snow White on screen. As Cassio, Burnap portrays a man of integrity, deserving of the lieutenant promotion that Iago was denied. From the hazing scene where he’s coerced by Iago and other soldiers to consume excessive alcohol (subtly showcasing Bud Light) to the failed assassination attempt by Roderigo, another victim of Iago’s manipulations (played by Anthony Michael Lopez), we empathize with Cassio in ways that are seldom felt for Desdemona or Othello.

Each presentation of a timeless work should be self-contained and not judged against others. However, I found myself yearning to have attended the recent Broadway revival in 1982, starring James Earl Jones, Christopher Plummer, and Dianne Wiest, instead.

I couldn’t help but wish that Broadway audiences could have seen Sam Gold’s intense 2016 production of ‘Othello’, which was played downtown. The cast included Daniel Craig, David Oyelowo, and Rachel Brosnahan, and the play was set in a modern military outpost that resembled Iraq or Afghanistan, creating a powerful connection between the characters. However, this kind of unity is noticeably absent here.

Location: Ethel Barrymore Theatre, New York City
Performers: Denzel Washington, Jake Gyllenhaal, Molly Osborne, Andrew Burnap, Kimber Elayne Sprawl, Anthony Michael Lopez, Daniel Pearce, Neal Bledsoe, Rob Heaps, Gene Gillette, Ezra Knight, Julee Cerda, William Connell, Ty Fanning, Ben Graney, Christina Sajous, Sarah Thorn, Greg Wood
Director: Kenny Leon
Playwright: William Shakespeare
Set Designer: Derek McLane
Costume Designer: Dede Ayite
Lighting Designer: Natasha Katz
Sound Designer: Justin Ellington
Fight Director: Thomas Schall
Produced by Brian Anthony Moreland

This version maintains the original’s structure while using simpler, more conversational language to make it easier for readers to understand.

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2025-03-24 07:25