Kiss me, kill me: Othello at the National Theatre

This year marks the 10th anniversary of Nicholas Hytner’s role as Director of the National Theatre, and over the last decade he has set a precedent for witty, intelligent productions that are both innovative and effortlessly cool – his most recent production Othello being no exception.

Othello is one of those plays that speaks for itself; the story is well-known and well-loved. While it would remain popular even without a stellar cast, casting is still critical and I was excited to find out that the roles of Iago and Othello were being played by Rory Kinnear and Adrian Lester respectively. The last time I was at the National was to see Kinnear in Hytner’s acclaimed production of Hamlet, so I was expecting great things.

Luckily, I was not to be disappointed. The contemporary realism of the production that extended to the set, costumes and direction transformed the 1603 play into the realm of modern warfare. This heightened sense of the presence and the ultra-naturalism of the acting made the emotions and themes of the play seem relevant and realistic. That being said it managed to remain non-hyperbolic, a trap I have found other, more traditional productions falling into.

Vicki Mortimer’s design was both stylish and innovative. The very original idea of staging the eavesdropping scene, which is the final catalyst for the tragic dénouement, in a common bathroom captured the lad-esque culture that was subtly employed to further the idea of rumour and hysteria. Othello’s paranoia was heightened by the claustrophobic set, with locked doors, enclosed walls and the threat of imminent danger outside the camp, which left Othello trapped with his torturer Iago.

The colour scheme was austere and cold, in keeping with the military themes but also perfectly juxtaposing the bright and sunny disposition of the charming Desdemona, played extremely well by Olivia Vinall (an actress nutured by the Belgrade Theatre in Coventry, where she starred in their recent production The Dark at the Top of the Stairs.)

Despite the play being entitled Othello, the character who dominates is Iago and there are plenty of critical debates surrounding Shakespeare’s decision to name the play after its tragic hero rather than the fiendish manipulator. Kinnear stunningly executed the role and the moments when Iago fears he is losing control stood out as the only glimpses of the character’s firm and vulnerable humanity. His false smiles and asides to the audience were chilling and allowed Othello’s fall from power and grace to appear all the more tragic.

Though Kinnear’s portrayal was brilliant and contemporary, it had perhaps too much emotional motive behind it. This is not necessarily a bad thing, but I have always seen Iago as a sadist; a sociopath who does the things he does not because of some humanly logical reason but simply because he can. This criticism is down to a matter of personal taste and otherwise Kinnear was flawless in the role. Particularly, the action with Kinnear and Lester together onstage was energetic and tense; it fulfilled everything you could want from the relationship of Iago and Othello.

Emilia is a character it’s easy to forget about, but Lyndsey Marshall played a passionate and strong performance that made me take notice of her for all the right reasons. In addition, it was interesting to see Emilia presented as a fellow soldier, rather than just a lady’s maid, which added a different dynamic to the relationship between her and Desdemona, as well as her and Othello, during the climactic final scene.

This is a clever and cool production that strips the play of both glamour and melodrama, transporting you to a very present and real world in which Iago’s quest for revenge takes centre stage.

Othello is at the National Theatre, London until Friday 4 October, or catch the encore NT Live screening on campus at Warwick Arts Centre on Sunday 13 October.