Othello’s nemesis has come in many guises, but the new spin in this production is that three actors play the arch-schemer Iago. Where he traditionally confides his quiet hate for Othello with the audience while posing as an honest ally and confidant, here those soliloquies are turned into conversations between the split self.
In theory, the polyphony should make his evil better understood and serve as a close study of Shakespearean jealousy. But all three Iagos (Michael C Fox, Orlando James and Jeremy Neumark Jones) are super-villains with no distinguishing features between them. They whisper, connive and rollick, sometimes behaving like lads in a pub (“drink drink drink” the trio chant when getting Cassio into the brawl that loses him his precious reputation).
This modern-dress, interval-free production directed by Sinéad Rushe begins with Cassio’s promotion over Iago and has clarity and pace. On Natalie Pryce’s dark, spare set, the lighting (designed by Alex Lewer) brings great tension, while the few props there are on the traverse stage are used to excellent effect.
But it seems like a thriller, with the focus on melodrama over anything more psychologically penetrating. As a study of jealousy, it is strangely devoid of intimacy and lacks greater meditations on characters or themes.
Sometimes the Iagos speak in chorus, at others they circle a character, such as Cassio (Ryan O’Doherty) while getting him drunk or later when spurring the love-lorn Roderigo (Rachel-Leah Hosker) into attacking Cassio, or filling Othello’s ear with doubt around Desdemona’s virtue. In this, there is the sense of Iago’s overpowering, almost bullying, skills of persuasion and manipulation.
But Othello (Martins Imhangbe) is turned into a shadowy figure as a result. His inner wranglings over Desdemona’s loyalty are not felt and his jealousy is ignited too abruptly. Imhangbe’s performance has charm but lacks subtlety. Rose Riley’s Desdemona is understatedly strong, but there is little passion between her and Othello. It all feels too clinical a concept, even as Desdemona lies dead, which should be horrifying.
As a thriller, it has its own grip though: the movement is choreographed well (fight direction by Yarit Dor) and there are good visual effects, even if it is ultimately empty of its central tragedy.
At Riverside Studios, London, until 29 October
