FORM-Idea

I remember reading a quote from a historian years ago, in which he stated that if you wanted an informed perspective on contemporary events in society, you need look no further than the plays of William Shakespeare.

Recently, in light of events in both the UK and the US—and their connection to the issue of race—I have returned to that quote. London’s National Theatre’s recent production of Othello acts as a mirror for the racial debate currently taking place on both sides of the Atlantic. It does this by placing race at the center of the story—something which, strangely, has often been largely overlooked in past productions. In doing so, it transforms a well-known classic into a contemporary and penetrating reflection of our times.

This production begins even before the play itself starts, as an actor walks onstage and literally sweeps the floor while the dates of past Othello productions appear on a screen behind him. From the recent, critically acclaimed Othello starring Adrian Lester to others from the distant past, these productions are metaphorically swept away—including one that the director has deliberately chosen not to list: the notorious Laurence Olivier production, in which Olivier appeared in blackface and adopted mannerisms that would be wholly unacceptable today.

The play itself begins with an intriguing addition: Othello performs a martial arts move in front of an adoring Venetian crowd. This immediately suggests that Othello is very much an outsider—celebrated only when his actions align with what this society deems acceptable.

We are then introduced to Iago, played in this production by Paul Hilton. Here, the character is presented as pure evil—there is no subtext, no ambiguity about his motivations. His hatred for Othello and everything he represents is absolute. This portrayal of Iago bears a striking resemblance to figures on the far right, those who resist change at all costs.