I invited a dear friend to join me for another Shakespeare adventure at the movies. Last year it was Macbeth with David Tennant. This year it was Othello with David Harewood and Toby Jones.
When I first read and studied Othello, I found it fascinating and relevant in any society. Iago was a very recognizable character from real life.
Years ago, I shared professional space with someone whose behavior followed that same pattern of whispering, scheming, and quiet manipulation. It was subtle and persistent. It was the kind of influence that works in corners rather than in daylight. Eventually I recognized the pattern for what it was. I plainly told him that he should never apply for any position I might advertise following my next promotion. That experience left me with a clear understanding of the kind of personality Shakespeare presented in Iago. He was not promoted.
Per my usual habit before attending a Shakespeare performance, I refreshed my memory of the play. I confirmed the characters and revisited several key lines. I prepared for full immersion.
I picked up my friend and we drove to the Angelika Film Center. After enduring the usual advertisements and trailers, some of which looked fascinating, the film began.
This production is a stage-to-film presentation from London’s West End. I understand and expect such productions to rely on minimal sets, modernized costuming, and strong performances to carry the play. The first two expectations were met. The third is where this production faltered.
I have since read many responses praising this performance as brilliant, beautiful, and extraordinary. I regret to say that I do not share that opinion.
Because I stream a great deal of classical music, I have noticed that many streaming services flatten the sound to create a continuous listening experience. The dynamics disappear. Quiet passages and crescendos lose their contrast.
My sense of this Othello was much the same.
Throughout the performance I waited for the drama to ignite. Shakespeare’s language was spoken clearly. Recitation alone does not create atmosphere, set a scene, or draw the audience into the tragedy.
Toby Jones delivered Iago’s thousand lines with precision and confidence. His performance felt curiously without emotional force. I saw his lips move. I wanted to see Iago scheme. I wanted to see him whisper. I wanted to watch the quiet manipulation that slowly poisons Othello’s mind. The lines were delivered clearly. They were delivered without the emotional architecture that gave the character his terrifying power. I wanted to dislike Iago and root for Desdemona. I found that I cared about neither.
David Harewood presented a plausible Othello. He was physically convincing as a general and commanding as an authoritarian figure. Desdemona, played by Caitlin FitzGerald, was visually striking and entirely believable as the beautiful object of Othello’s infatuation. The character lacked the humility and innocence that traditionally anchor Desdemona’s role. There was, instead, a noticeable note of modern attitude that felt out of place within Shakespeare’s tragic world.
Venetia Robinson’s Emilia was strong and believable. I sensed that she was trying to carry the magnitude of the play on her shoulders. The remaining roles were competently handled.
When watching theater, I allow myself to be enveloped by the performance. I want to enter the world of the play and remain there until the curtain call.
That did not happen. The experience felt more like looking into minimally decorated Christmas windows where scenes are suggested and not lived. The sense of immersion never arrived.
Without emotional contrast, the play felt flattened.
I admire the discipline required to perform a role as demanding as Iago. Memorizing and delivering that volume of text is no small achievement. Toby Jones deserves recognition for that accomplishment, as does David Harewood for his portrayal of Othello and Venetia Robinson for her compelling Emilia.
Good Shakespeare is not meant to be flattened. His plays breathe through contrast—whispers and outbursts, suspicion and innocence, tenderness and violence.
Those dynamics never appeared. The tragedy remained intact on the page. It did not live on the stage, and certainly not in our theater.
A Night with Macbeth at the Crossroads of Traditional and Modern
There’s something deliciously ironic about preparing to watch “The Scottish Play” through a screen. Armed with Marjorie Garber’s scholarly insights and Paul Cantor’s lectures queued on YouTube, I found myself straddling centuries – one foot in traditional academic preparation, the other in digital-age convenience. But nothing could have prepared me for the way that the filmed live Max Webster-directed production at London’s Donmar Warehouse; starring David Tennant and Cush Jumbo; would dissolve that careful distance between viewer and viewed.
The Seduction of Simplicity
In an era where productions often compete to outdo each other with elaborate sets and costumes, this Macbeth takes a boldly minimalist approach. The stark staging serves not as a constraint but as a canvas, allowing the raw power of Shakespeare’s language and the actors’ craft to paint vivid pictures in our minds. It’s a reminder that sometimes, less is more – especially with performers of exceptional caliber commanding the space.
The Intimacy of Technology
Things get interesting with the production’s use of binaural sound technology and the theater’s 5.1 surround sound transformed what could have been a mere filming of a stage play into something more visceral. Every whispered plotting, every sharp intake of breath, every moment of hesitation becomes startlingly intimate. This is psychological cinema at its finest. Using modern technology to achieve what Shakespeare himself must have dreamed of – the ability to place the audience not just in front of the action, but inside of it. Macbeth’s eye contact with the viewer is both thrilling and chilling.
Gender, Power, and the Space Between Desire and Action
At the heart of the play is an exploration of gender dynamics that feels startlingly relevant to contemporary discussions. Lady Macbeth emerges not simply as an ambitious woman, but as a complex figure trapped in a society that offers her “no chance of independent action and heroic achievement.” Her transformation of nouns into verbs – turning the Weird Sisters’ prophecies into calls for action – speaks to a deeper truth about power and agency.
The production masterfully highlights how Lady Macbeth’s infamous “unsex me here” speech resonates with modern conversations about gender constraints. Her willingness to “dash out the brains” of her nursing infant becomes not just an act of horror, but a violent rejection of prescribed feminine roles. In Jumbo’s portrayal, we see a woman who has internalized the brutal logic of a masculine world, turning it back on itself with devastating effect.
The Question of Responsibility
Perhaps the most unsettling aspect of this production is how it implicates its audience. Through the immersive sound design and intimate camera work, we become less spectators and more accomplices. Each choice, each action, each consequence feels personal in a way that traditional staging rarely achieves. The production asks us, in our era of influence and manipulation, whether we are ever truly responsible for our actions – a question that echoes far beyond the theater walls.
A New Kind of Shakespeare Experience
What makes this production remarkable is not just its technical achievements or stellar performances, but how it manages to honor both theatrical tradition and contemporary sensibilities. It’ is Shakespeare for our time: psychologically acute, technologically sophisticated, yet deeply rooted in the timeless power of language and performance.
For those planning to view the film: Yes, do your homework. Garber will guide you through the text and Cantor illuminates the themes. But, be prepared to have all that careful preparation wonderfully undermined by a production that refuses to let you remain a distant spectator. In bridging the gap between stage and screen, between past and present, this Macbeth creates something entirely new – and utterly compelling.
For optimal viewing, resist the urge to maintain analytical distance. This is one production where surrender yields the richest rewards. To whet your appetite take a little tour.
Brodie Donougher PC: Poetry Film Productions The DancerPhoto by Lumosia Photography London One of the many faces of Brodie Donougher
“Watch me, watch me, watch me make this flip,” five-year-old Brodie Donougher implored his parents as he flipped off the living room sofa. That was the beginning of Brodie’s performing career. He was a happy, enthusiastic, and energetic child, who loved to share his talents with anyone who wanted to see them. His motivation was to bring enjoyment to others. At 21, he performs professionally for audiences’ enjoyment as an actor, singer, and dancer.
From flips off the sofa at the age of five to today, Brodie has had three major roles: on London’s West End as Billy Elliot for three years; as Rookie with the Grand Rapids Ballet in the United States; and, beginning this month, in Vienna, Austria, in The Phantom of the Opera. What drives Brodie Donougher to immerse himself into a production and embody a character? His infectious enthusiasm to pursue his craft and indulge his drive for excellence, because he says, “You can never be too good.”
Skyline of Opera Garnier, Paris – home of the Phantom
In January 2024, Brodie arrived in Vienna, Austria, to begin rehearsals for Camron Mackintosh’s production of Das Phantom der Oper –The Phantom of the Opera by Andrew Lloyd Webber. He will be performing his roles entirely in German, (the Austrian Hoch Deutsch dialect). Brodie is multilingual speaking Italian, now German, and of course, English. He has already learned ‘The Phantom text’ in Hoch Deutsch. “We have an incredible team of top performers, and I feel honored to be among them,” said Brodie who plays two characters – Hannibal’s Guard, as well as an ensemble member. He explains, “As the ensemble member, my character is an attractive young dancer who performs at the Opera Garnier in Paris. He is quite flirtatious, and loves the attention of the two principals, Carlotta and Piangi. Hannibal’s Guard makes a prominent entrance and poise at the beginning and keeps strong entrances throughout the whole first act. In addition to playing two characters in the performance, I am also a ‘stage hand’ and come and go throughout the different scenes and help keep the narrative going.” The production opens to the public on March 15. Tickets are sold out through June 20. The show will play in Vienna through June 2025.
An insatiable learner, Brodie says, “It’s my belief that every moment that you’re sitting idle, there is opportunity wasted. If I am sitting at home or in a cafe relaxing, there is wasted opportunity when I could go out and learn something new. Don’t get me wrong I relax; everybody needs that, but I have this constant need to be learning or enhancing – to do more. If I can go to a ballet class, I will go, and as soon as I’ve finished it and I learn about a workshop happening, and, if time allows, I will attend that as well. I love using my time to improve and develop my skills.”
Photo Curtesy of Brodie Donougher Flipping and Flying
How has one so young accomplished so much? “I love to give one hundred percent,” explains Brodie. “Sure, I can get by with 70 percent. But then, I think about how the audience might have enjoyed the production if I had given 100 percent. Every actor on a stage reaches the audience. I love to touch each member of the audience and bring them into the production.”
An accomplished and highly recognized ballet dancer, Brodie wanted to use his voice and get back to his “roots” of musical theater. He described his original roots , “I am from Blackpool in the Northwest of England. It is not a very prosperous area, but that is home.” The area’s prosperity or lack thereof did not hold him back. He was scouted as a young child by the Royal Ballet School Primary Steps Program where his hard work and dedication gave him opportunities beyond imagination. They selected him to join the school. He embraced, breathed, and lived every aspect of his dream-come-true. “Whenever I get into a less than optimal situation, I think of my roots. Where I came from and what I have accomplished. I always feel tremendous gratitude and want to give more,” he explained.
One day, while waiting for Brodie at his ballet class, him mother overheard other mothers discussing upcoming auditionsin Manchester, England for Billy Elliot the Musical. She decided to give Brodie the audition experience. He, along with several other students from his ballet school, auditioned. Brodie, at nine years old, sustained the grueling eight-hour initial audition where at every hour contenders for the lead were dismissed. After seven hours, Brodie was still dancing. Over a lengthy audition process, Brodie was offered the part of Billy Elliot. At that time, he also received offers to study with the Royal Ballet School and with the Elmhurst Ballet School, both premier ballet schools in the UK. At his young age, he knew that his decision could affect his future. He accepted the lead in Billy Elliot the Musical.
Photo curtesy of Brodie Donougher PC: Brian Cantwell A real life Billy Elliot
Billy Elliot was a highly acclaimed production on the West End. Brodie was Billy #39 and performed 144 times over three years. He says, “That is when I discovered that I love to perform, when I looked out in the audience and saw thousands of people being entertained.” Brodie performed at the Olivier Awards, representing Billy Elliot for Best West End Musical, in 2015. He performed “Billy” on various television shows, including “This Morning,” a British daytime magazine program, and on the Late Late Show in Ireland. Charisma is among his many talents.
Brodie immersed himself in his ballet education following Billy Elliot. For the four years after the play ended, he studied ballet with the Elmhurst Ballet School and honed his craft.
Photo by Elmhurst Ballet School 15-year-old student, Brodie, at Elmhurst Ballet School
At 18, Brodie brought his talents to the United States, where he was selected by the San Francisco Ballet School for a full scholarship to become a senior student there. According to Data Pointes, the San Francisco Ballet School is ranked among the top ten best ballet schools in the world.
Photo curtesy of Brodie Donougher – PC: Ray Nard Image Maker All That Jazz – Grand Rapids Ballet
Following his two-year study at San Francisco, Brodie joined Grand Rapids Ballet as a professional dancer. His precision, technique, and ability to fully inhabit characters helped elevate the company’s performances. Brodie’s most “cherished” Grand Rapids Ballet role was when he was cast as “Rookie” in the Andy Blankenbuehler (a three-time Tony award winner for Bandstand, In the Heights, and Hamilton), production, Remember Our Song. Brodie explained, “When given the opportunity to portray a role in a show or musical, the biggest part of preparation for your role is research. The most important thing, before you even step into the studio or rehearsal, is to learn who the character is. His thoughts, fears, hopes, loves. I spent two weeks researching. This story was about sailors in WWII who were in a submarine. I tried to imagine myself as that young sailor living below the surface of the sea; not seeing daylight; leaving my mom behind. I slept on a metal cot with the smallest and thinnest cloth for a cover. I read books about submarines and accounts of sailors’ experiences in the depths of the ocean. I WAS Rookie. The Company’s board president came to me after one of my performances and told me, ‘I couldn’t even think it was you dancing…I felt as though I could feel every emotion. You made the performance storytelling.’”
While ballet is as natural as breathing for Brodie, he has much more to offer – acting, speaking, and singing. “I was told not to hide my light under a bushel,” recounts Brodie. “When I share my voice, the audience can experience the full impact of the character that I embody.” Voice, language and music make musical theater touching and memorable. Brodie has been preparing himself for every moment to entertain the audience whether solo or in ensemble. “I love working with my artistic team to produce the best possible theater for our audience. When we all give 100 percent, my heart is full.”
Photo curtesy of Brodie Donougher Snowy ‘Fred Astaire’Photo curtesy of Brody Donougher ‘Fred Astaire’ curtain call
Upon his return to the UK after Grand Rapids, Brodie performed in the West End Christmas production of The Snowman at the Saddlers Wells Peacock Theater. Although initially as a “swing” cast member, on many occasions he performed the role of Fred Astaire with finesse and elegance. His jumps were clean and crisp, his miming and acting were clear and relatable and “he helped bring an extra dimension to the performance,” per a theatergoer who enjoyed the production.
Photo by Brian Cantwell At the Stage Door
Asked what his dream role(s) might be, Brodie replied, “I’ve made a list on my laptop and on my phone of my dream roles and the shows for these roles are, just to name a few, the character of Mush in Newsies, and I would also love to play in Les Misérables. These are truly my dream roles and musicals. Ideally, my number one most desired role would be Enjolras, a ‘thinker and a man of action,’ according to Victor Hugo. He is the handsome young man who swings the red flag. I would also love to play Marius. It would be a dream come true if I could perform in a US touring company.”
At an age where many would still be considered “up-and-coming,” Brodie Donougher has already established himself as a consummate professional and world-class talent. His unrelenting work ethic and deep respect for his craft and production members suggest this is merely the first act in what will undoubtedly be a distinguished career.
Post ballet class exhilarationPhoto curtesy of Brodie Donougher Take a bow, Fred Astaire
Note: I met Brodie at a ballet performance several years ago. I was impressed by his tremendous presence yet humble nature. His fresh, fit, good looks and charisma were palpable. I was sorry to see him return to London because I had hoped to be able to watch him perform in the U.S. Since our first meeting, we have met for coffee and dinner in London. One morning while in London, I received an early morning message that he was performing in The Snowman that day. I managed to acquire tickets in under one hour and arrived at the theater with 10 minutes to spare. His performance was exceptional. This blog is to share this impressive actor with my sphere of readers and friends. He is someone to follow and make an effort to see. He is worth it.
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