Othello on Broadway
A play led by the best actor of our time, but the production feels plain and unmemorable.
Shakespeare’s language can be beautiful, but it’s also dense. This Broadway revival of Othello, directed by Kenny Leon, keeps most of the original text intact but places it in a modern military setting—camouflage, tan suits, cell phones, and a cold, minimalist stage. The updated visual world helps clarify the power dynamics, and there’s a one-page story summary included in the Playbill for anyone less familiar with the plot.
The story is built on hatred, jealousy, and love. Othello (Denzel Washington) is a high-ranking general who has just married Desdemona (Molly Osborne). His subordinate, Iago (Jake Gyllenhaal), furious after being passed over for a promotion, begins scheming against him. He convinces Othello that Desdemona is having an affair with Michael Cassio, Othello’s loyal captain. That one lie unravels everything—slowly at first—until it ends in betrayal, heartbreak, and death.
Washington and Gyllenhaal play well off each other. Gyllenhaal’s Iago is quiet, deliberate, and always a few steps ahead. There’s no dramatic flair—just sharp control. Washington keeps Othello composed and tightly restrained for most of the show. It’s a strong, focused performance, but it also feels held back. In a more traditional staging, you get the sense he might’ve gone deeper. That restraint seems like a choice tied to the production. The modern framing keeps everything colder and quicker, less emotional, less theatrical. And while that works in certain moments, it also shrinks the space the actors have to fully stretch.
Kimber Elayne Sprawl, as Emilia, is the emotional anchor of the final act. Her presence cuts through the coldness, and her clarity gives the production a boost just when it needs it most.
The set and costume design don’t rise to meet the cast. Derek McLane’s set is all glass, light, and emptiness. Dede Ayite’s costumes work best in the military scenes, but feel generic beyond that. The visuals help move the plot along, but they don’t deepen the experience. There are moments when the cast walks through the aisles, which adds some energy, but overall it’s functional, not alive. The actors carry the story on their own.
When it comes to acting, Washington is in a league of his own, and Gyllenhaal is right behind him—two theater kids who thrive just as easily on film sets as they do on stage. But I would’ve rather seen Denzel, specifically, in an original production—or in a full classical staging of Othello—than in a modernized version that almost holds him back.
That said, the big moment at the end had the crowd gasping. And even through all the coldness and restraint, the image of Denzel performing this role in the same room as you is unforgettable. There’s no way around that.
And then there’s the cost.
Broadway ticket prices have reached absurd levels, with weekend seats for popular shows pushing $900+. The backlash isn’t just loud—it’s justified. It’s hard to claim these experiences are for everyone when the prices are structured to keep most people out. While Othello features strong performances, the overall production doesn’t justify the cost. At a more reasonable price, you’d leave feeling like you saw a solid show. At premium prices, you’re doing mental math the whole time.
If several hundred dollars means nothing to you, and seeing actors like Denzel and Jake Gyllenhaal onstage is the point, then sure—go. There’s value in just being in the room with that level of talent.
But you probably won’t walk away changed.m You might not even be moved by the material. You’ll walk away knowing you saw great actors doing good work—and for some people, that’ll be enough.
P.S—if you’re wondering why there are hardly no photos of these actors on stage it’s because your phone gets locked up with a yondr pouch, so don’t think you’ll be able to snag a pic with that expensive golden ticket.
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🎟️Want to see it for less? Enter the official lottery via rush.telecharge.com for a chance at discounted tickets. You can also try your luck in person—head to the box office the day of the show and ask about any last-minute single seats. Occasionally, prime solo spots open up at steep discounts, especially during weekday performances.
(Creative team includes director Kenny Leon, scenic design by Derek McLane, costumes by Dede Ayite, lighting by Natasha Katz, sound by Justin Ellington, hair and wigs by Mia Neal, intimacy direction by Claire Warden, fight direction by Thomas Schall, voice & text coaching by Dawn-Elin Fraser, Shakespeare consultation by James Shapiro, and military consultation by Christopher Wolfe. Produced by Brian Anthony Moreland, with co-producers including Kandi Burruss and Todd Tucker (as part of Moreland’s producing team), along with Richard Winkler and Cody Lassen. General management by 101 Productions, Ltd.; production management by Hudson Theatrical Associates. Stage management by Narda E. Alcorn, Benjamin E.C. Pfister, and Abbie Betts. Casting by Duncan Stewart, CSA & Jarrett Reiche (ARC Casting); marketing by Anna Pitera DeVito; press by DKC/O&M; advertising by AKA. Principal cast: Denzel Washington (Othello), Jake Gyllenhaal (Iago), Molly Osborne (Desdemona), Andrew Burnap (Cassio), Kimber Elayne Sprawl (Emilia), Anthony Michael Lopez (Roderigo), Daniel Pearce (Brabantio), Neal Bledsoe (Duke of Venice), Julee Cerda (Bianca), Ezra Knight (Montano), Gene Gillette (Gratiano), and Rob Heaps (Lodovico).)
