There’s tremendous drama occurring at the Ethel Barrymore Theatre, where Denzel Washington and Jake Gyllenhaal are co-starring in the new production of Othello. Unfortunately, little of that drama has to do with Shakespeare. Rather, it’s the gossip about such things as the absurdly high ticket prices that have become de rigueur for shows featuring movie stars in limited runs; a first-string critic being denied press tickets after complaining about said ticket prices and then running his negative review a week early; whether or not Washington has fully learned his lines by now; and, good god, what if I forgot to shut my phone and it starts ringing inside one of those locked Yondr pouches?
But conscientious playgoers — to say nothing of conscientious reviewers — should set that aside when they take their seats and the curtain rises. This Othello is…fine. Directed by Kenny Leon in a manner that can only be described as haphazard, there’s nothing horribly wrong about it, and it’s certainly thrilling to see the two leads, both of whom have undeniable stage chops in addition to movie star charisma, going toe-to-toe right in front of you. But audiences can be forgiven for wanting something more after all the hype.
Instead, we get yet another visually tedious, bare-bones rendition, set in the “Near Future” for no discernible reason other than to save money by having the actors clad in modern-dress rather than period costumes. Apparently under the impression that we don’t care to look at anything other than Washington and Gyllenhaal in the flesh, the monochromatic set design consists of little more than large pillars and a central platform that rises whenever one of the leads has to make a big speech. The play is largely set in Venice, but we don’t get so much as a fountain.
[Read Roma Torre’s ★★★★☆ review here.]
This represents Gyllenhaal’s Shakespearean debut, and the actor has clearly prepared assiduously for it. With his shaved head and impressive physique on display in tightly fitted suits and military fatigues, he delivers an effectively intense performance and displays a good facility for the language. He’s more charming than sinister, never fully convincing us of Iago’s venality despite his impassioned declaration “I hate the Moor!” And there are times when his character seems to fade into the background (which could also be a result of the director’s blocking). But overall, he acquits himself nicely in one of the Bard’s most challenging roles.
At age 70, Washington is arguably too old for his part, making the visual contrast between him and Molly Osborne’s young Desdemona a bit unsettling. He delivers a very Denzel-like turn, from Othello’s exuberant giddiness with his new love to his florid physical movements to his comic vocal intonations (the production features an off-putting amount of humor). But his performance is more commanding for his physical presence than anything else; he doesn’t seem to be fully connecting with the character in a visceral way. He also has trouble making his lines fully understandable, which may be a result of his recent tongue injury. Of course, it could also stem from Leon’s propensity of making his actors rush through their dialogue as if they were worried about making the last train out of Penn Station.
Andrew Burnap (who’s having an exciting few days, between this and his starring turn in Disney’s new Snow White film) is an appealing, sympathetic Cassio, while Kimber Elayne Sprawl musters up formidable fury as Emilia in the climactic scene. Molly Osborne has been imported from England to play Desdemona, but her mostly bland performance suggests a tariff might have been in order.
Leon’s staging has its predictably silly touches, such as frequently having actors march through the aisles to the stage as if they’d wandered out of the theater for a smoke break only to find the stage door locked. A key scene is played in the dark, illuminated only by flashlights, which is more annoying than ominous. And the climactic scene set in Desdemona’s bedchamber is prefaced by florid background music that Douglas Sirk would have dismissed as too kitschy for one of his ‘50s melodramas.
Lacking an overriding concept or strong directorial vision, this Othello fulfills its basic goal of putting its two stars onstage and letting them rip. But it’s hard not to wish that it had strived for something more.
Othello opened March 23, 2025 at the Ethel Barrymore Theatre and runs through June 8. Tickets and information: othellobway.com
