Haymarket Theatre Royal

Though it would be pushing it to say Tom Morris directs Othello as a comedy, he certainly wrings more laughs than usual out of Shakespeare’s great tragedy. To be fair I don’t think I’d appreciated the extent to which other productions must try to avoid audience giggles every time a character describes the villainous Iago –  the greatest snake in English literature – as ‘honest’. Morris just cheerily milks it, and the result is a lighter-than-usual take on the play. Not out-and-out hilarious, but with a glossiness that speaks of a desire to go easy on a West End audience.  The title role is played by David Harewood, who returns to the part 28 years after he was the first Black actor to star as the doomed Moorish general at the National Theatre. His new Othello is a precise, confident, seemingly unflappable man who shows little sign of jealousy or doubt for a long time. But his extreme rationalism proves his downfall: once Toby Jones’s Iago presents ‘proof’ of Othello’s wife Desdemona (Caitlin FitzGerald) being unfaithful, her husband simply accepts it, something that speaks as much of misogyny as insecurity or insanity.  Jones is a thoroughly entertaining Iago, who tackles Shakespeare's elegant verse with a coarse vigour that helps explain why the other characters like him so much: he comes across as plainspoken, dowe to earth, and funny.  Why does he want to destroy Othello? Being overlooked for a promotion in favour of Luke Treadway’s dashing Cassio is the initial...

A hit at the Chichester Festival Theatre, Rachel Joyce adapts her own hit novel – which also birthed an accliamed 2023 film – about the eponymous 65-year-old man, who receives word his former colleage is dying and instructs her not to pass on until he has walked the length of England to bid her farewell. The songs in Katy Rudd’s production are by indie musician Passenger, and Mark Addy and Jenna Russell will reprise their roles as Harold and his wife Maureen in this limited run transfer.

Ralph Fiennes has been beavering away busily over at Theatre Royal Bath this last year, curating and starring in a season of work at the prestigious South Western theatre. London seems very unlikely to get all of it, but here’s one nailed on transfer: Fiennes and Miranda Raison will star as the great Victorian actors Henry Irving and Ellen Terry in Grace Pervades, the approximately millionth (well, thirty-second) play from the great David Hare (curiously it’ll run in the West End at the same time as a revival of his very early play Teeth ‘N’ Smiles). Jeremy Herrin directs the drama, which follows the stage legends plus Terry’s children Edith Craig and Edward Gordon Craig, and examines the dynasty’s wider influence on British theatre.