Broadway is set to welcome the much-anticipated production of Othello featuring Oscar-winner Denzel Washington and Jake Gyllenhaal, opening next Sunday, March 23, 2025, at the Ethel Barrymore Theatre located at 243 W. 47th Street. The show arrives amid controversy, as critic Johnny Oleksinski had his ticket rescinded after criticizing the exorbitant prices, which start at $921. Despite this ticket scandal, the production is generating significant buzz, particularly for its high-profile cast.
Kandi Burruss, the star from The Real Housewives of Atlanta, recently spoke at the 2025 Essence Black Women in Hollywood Awards, shedding light on how Washington landed the titular role. "We're very thankful from the support from the fans, and believe me: Jake, Denzel, all the people in the show, they are here to bring it and you will not be disappointed," she shared, indicating strong confidence from those involved.
The play, which has received mixed reviews, runs for two hours and 35 minutes, including one intermission. Audience members will have their phones locked away during the performance, making distractions less likely. This trend has become common on Broadway, especially during shows featuring nudity or surprises, but Othello makes no such attempts.
Setting the tone with the phrase "the near future" projected onto the backdrop, the production seems to suggest something breathtaking. Instead, viewers are treated to basic menswear and army fatigues, disappointing those hoping for something visually stunning. Critics have noted the production lacks fresh elements, adhering more to traditional interpretation than innovative staging.
Washington's portrayal of Othello attracts considerable attention, though feedback has been varied. Critics highlight him as competent yet lacking the necessary emotional drive. One reviewer mentioned, "Suffice it to say, this is about an un-tragic a tragedy as you’ll find." It’s apparent Washington, 70, brings some veteran gravitas to the role but struggles to embody the character's psychological depth. His performance is marked with moments devoid of passionate intensity, wherein he often seems as detached as his steely character.
Conversely, Jake Gyllenhaal shines as Iago, with audiences appreciating his nuanced depiction of the villain. Gyllenhaal artfully utilizes Shakespeare’s original language without straying too far from the text, earning praise for his ability to elicit genuine engagement. When he barks, “I hate the Moor!” from the stage, it becomes one of the few moments this production grips its audience wholeheartedly.
Interestingly, audience reactions have prompted some chuckles throughout the show. Mixed laughter, laden with surprise, highlights how the current viewers respond, differing from the tragic intent of the play. This reaction perhaps stems from the star power at play rather than the inherent tension of Shakespeare’s narrative, leaving some questioning whether such responses are fitting for the classic tragedy.
Plucky fans like Kandi Burruss remain optimistic about the production's chances at awards, “I’m praying. But you know, I pray every time,” she remarked. Hoping for recognition from the Tony Awards, Burruss’ faith reflects the desire many hold for the grandeur of live theater. She, alongside others involved, hopes the production will not only captivate audiences but stand as a noteworthy entry for Tony consideration.
The controversial ticket prices and the scathing reviews do little to quell the anticipation, as Broadway and theater enthusiasts gear up for what is poised to be one of the year's defining productions. Even with its challenges, the excitement surrounding Othello remains palpable as it prepares to run until June 8, 2025. Will producers and cast deliver on their promises, or will the excessive hype overshadow the essence of Shakespeare’s timeless narrative? The next few weeks will reveal whether this important revival lives up to its immense expectations.
