Actors on Characters

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The actors from the Globe’s production of Othello give their opinion about their character’s journey through the play.

Tim McInnerny on Iago

Iago is a soldier waiting for conflict. Iago doesn’t plan anything; he improvises all of the time, from the very first scene. I think, partly, his behaviour comes about through boredom. Also, having been very close to Othello, as only soldiers in battle can be, saving each other’s lives, he’s now come up against a glass ceiling. Othello has promoted Cassio to lieutenant, not Iago. He also believes that Othello and Aemilia have had an affair, but Iago’s a sociopath – he’s psychotic. The reasons that he gives for hating Othello don’t necessarily hold weight. However, his belief in those reasons is all that matters.

As well as being jealous of Cassio, he’s also disparaging about people’s moral innocence. He thinks love is ludicrous and doesn’t exist – it’s a word used to cover up lust. To Iago, Othello’s love of Desdemona, and consequent weakening, means that he’s watching a man being destroyed. Iago talks about racism and he uses it to manipulate people, but you don’t feel that he cares. He hates Othello because he hates him, not because he’s black; he hates him indiscriminately. Iago’s relationship with death is also very strange; it’s something that he’s lived with every day; it’s part of his job, so it doesn’t have the same resonance for him as it does for most.

Iago’s only real mistake is a banal one: after wounding Cassio, he sends Ameilia to Othello’s lodging. If he’d sent her home, he’d be safe, but Aemilia is the only person who’s not scared of him. She has been his accomplice in the past, but suddenly, in the final scene, she adopts this high moral tone and it takes him completely by surprise. She betrays him in front of everyone.

Iago doesn’t have a journey in the play in terms of psychological revelations; his character is set at the beginning. It just amplifies as it goes on. He doesn’t learn anything and in fact considers learning things as being weak. He believes his view of the world has been proven right by the end and says: 'from this time forth, I never will speak word.' It’s an extraordinary thing to have a character say at the end of a play.

Iago’s the engine of the play and needs to push it forward with tremendous energy. This part is the most exhausting one I’ve ever played. Carrying Iago around all day is not a pleasant thing to do; it’s hard to have that darkness inside of your head.

Eamonn Walker on Othello

Othello is a man who straddles two cultures. In his heart he knows who he is. His life has been a difficult journey, but now he’s found himself in Venice doing rather well. He’s risen up through the military ranks and now he is a General. He’s a successful warrior and his best friend is his Ancient, Iago. Then this woman, Desdemona, comes along and says: ‘You are more than that.’ He falls in love and is rediscovering himself, as we do when we are in love, through other people’s eyes. In Othello’s eyes, Desdemona is the light in his dark life. Othello is completely naive in his experience of love. He has never felt it before. That makes him vulnerable. When you are in love you are wide open and anyone can say something to you and you believe it. That is why he is susceptible to Iago’s manipulation. Othello loses his sense of self in his jealousy and madness and at the end of the play he kills Desdemona.

Zoe Tapper on Desdemona.

We first see Desdemona when she is summoned to the Senate. She has secretly married Othello, and although she hates to defy her father, she is prepared to risk everything for the right to live and be with the man she loves. When the couple arrive in Cyprus, all is harmonious; they are playful and loving towards one another. Desdemona, ignorant of Iago’s plot, takes up Cassio’s cause with her characteristic passion and zeal. She flirts with Othello a little, chides him a little and then laughs at him or cajoles him, always changing her intention, to try and get him to do what she wants: to persuade him to recall Cassio. It is lovely romantic banter and comes just before Iago plants the seeds of doubt about Desdemona in Othello’s mind.

Othello starts behaving irrationally towards her, but Desdemona remains loyal, always trying to work out what is causing his behaviour. She wonders if she is to blame but she never once points the finger at him. This reaches a climax when he strikes her and calls her a whore. She is left reeling from this but is always constant to him. Aemilia gives her guidance as she tries to find solace in an old 'willow song' that she heard in her youth. Finally, though, she is alone with Othello. Othello’s eerie calm frightens her, yet she’s still searching for an answer, hoping that their love will win out. Her hopes are futile and he smothers her to death. Even as she dies, her final words are ones of complete forgiveness: 'Commend me to my kind Lord.'

Lorraine Burroughs on Aemilia

Aemilia is unhappily married to Iago. She has to follow him to different barracks and he beats her. Aemilia is assigned to look after Desdemona in Cyprus. She finds Desdemona’s handkerchief, which Iago has been trying to get her to steal. She gives the handkerchief to her husband, without knowing what he will do with it. When Desdemona is upset because Othello is angry with her, Aemilia tells her about the ways of men, but Desdemona doesn’t listen. Even though Aemilia understands men, she doesn’t see the true depth of Iago’s jealousy. In the last scene Aemilia realises what Iago’s been doing, and speaks out against him and all men. She is killed by her husband for her outspokenness, but not before the truth about Iago is known.

Nick Barber on Cassio

Cassio thrives on reputation and appearance. Just before the play starts, Cassio has been made Othello’s lieutenant – his second in command. His Achilles heel is that he can’t control his drink. In Cyprus, Iago persuades Cassio to drink and then Rodorigo picks a fight with him. Cassio ends up wounding several soldiers, which leads to him being stripped of his lieutenancy. This is the worst thing that Cassio can imagine happening. Iago pretends to help Cassio regain his place, telling him that the best way to persuade Othello is through Desdemona. Desdemona agrees to help and Cassio is very grateful. However, Desdemona’s appeals to Othello fail. At the end of the play, Iago has persuaded Rodorgio to kill Cassio. He attempts to, but Cassio severely wounds him. Iago, in the dark, stabs Cassio and flees. Cassio is very badly injured. After the tragic events of the climax, Cassio finds out that he has been appointed to Othello’s position. He has gained the high office which he had always longed for, but he is crippled.

Sam Crane on Rodorigo

Rodorigo is in love with Desdemona, and has enlisted the help of Iago, to woo her. Throughout the play, Rodorigo repeatedly loses hope, only for Iago to convince him to be optimistic. At the very beginning of the play, they wake Desdemona’s father, Brabantio, hoping that he will not allow Desdemona’s marriage to Othello. Brabantio tries to stop the marriage, but Othello persuades the senate that he won Desdemona by fair means. Iago persuades Roderigo to disguise himself and follow her to Cyprus. Once Rodorigo has arrived in Cyprus, Iago tells him that Desdemona is also in love with Cassio. Iago convinces Rodorigo to fight with Cassio, to ruin the lieutenant. Rodorigo does but gets beaten up. He is absolutely distraught by this stage, complaining to Iago, who still urges him to pursue Desdemona. When nothing happens, Rodorigo becomes angry. Iago jumps on this anger and tells Rodorigo to kill Cassio. Rodorigo is not a military man, and the thought of killing another man terrifies him. He attempts the act but is wounded. Iago, having finished with Rodorigo, kills him. Only in the final moment of his life does Rodorigo realise Iago’s true nature.

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