Tag Archives: Luke Treadaway

2025

“Othello” at the Theatre Royal Haymarket

David Harewood as Shakespeare’s jealous general proves reason enough to see this new production from director Tom Morris. Having first played the part in 1997, Harewood has a special kind of experience. He is an imposing figure, presenting a dignified leader whose downfall increases in tragedy because of how inexplicable it is. Harewood is flawless. And Morris doesn’t exactly make mistakes. But this production is a strangely tepid affair and, overall, underwhelming.

Continuing the star casting, having Toby Jones as Iago is exciting and his performance is interesting. Leaning into a comic edge for the character is unusual. Iago’s wickedness can be funny (Tom Burn benefits as the dupe Roderigo). And the jokes suit Jones, who also uses an affable persona to good effect – you can see why people trust “honest Iago”. The laughter is too contagious though; there isn’t enough evil or fear around this “demi-devil”. Morris might want to emphasise chance and opportunism – Iago’s sexual jealousy is left out – but this aim is not clear enough.

There are more problems. While none of the acting is disastrous, too much is lukewarm. Caitlin Fitzgerald tries hard to focus on Desdemona’s independence which is, arguably, at odds with much of the text. This Desdemona is far too confident and worldly-wise. It becomes hard to imagine her putting up with much from a husband so the chemistry is lacking. Luke Treadaway’s Cassio is more a plot point than a person and Peter Guinness’ strange sounding Brabantio difficult to understand.

Morris keeps the action quick and that doesn’t leave much room for tension to build. There is help from PJ Harvey with the music, some swanky projections from Nina Dunn and admirable lighting design from Rich Howell. But none of it is used quite enough to make it memorable. More specifically, while the production does pick up, the starting point is timid so impact lacking. 

The death bed scene is strong – Harwood and Fitzgerald are both excellent. And Vinette Robinson’s barnstorming Emilia, an impassioned performance, comes close to stealing the show. It seems appropriate that at the end, her face is projected the same size as Desdemona. But these stylish touches don’t add up to a production that is more than the sum of its parts. It is Harewood’s justified confidence in the role, his beautiful delivery of the verse, that towers above all else.

Until 17 January 2026

www.othelloonstage.com/

Photo by Brinkhoff/Moegenburg

2025

“East is South” at the Hampstead Theatre

It’s an old trope in science fiction that, when asked if there is a God, a supercomputer replies: “There is now”. Playwright Beau Willimon’s riff on the idea of AI and divinity is intelligent and a refusal not to simplify such a complex topic is admirable. If too many ideas are mentioned then left unpacked, it probably isn’t a surprise. But this mix of modern concerns and religion benefits from director Ellen McDougall’s impressive infusion of dramatic tension and some fine performances.

The play is a series of interrogation scenes, set around an accident in an AI lab. So, there’s little action and an awful lot of talking. It works (just about) mostly through the efforts of Nathalie Armin, whose character is investigating the security breach. Her character is a psychologist, there’s the threat of terrorism, and Armin manages to make the role likeable, at the same time generating suspicion.

Luke-Treadaway-in-East-is-South-credit-Manuel-Harlan
Luke Treadaway

Willimon is too smart to give us good guys and bad guys, but the two programmers, Lena and Sasha, who have taken the dangerous step of “releasing” the AI programme might be a little more complex. Kaya Scodelario and Luke Treadaway both do well with the roles, but snippets of their relationship don’t add much (nor does an unnecessary Russian accent). The performers are strong enough to make us care for this young couple, who might even be in love, but, again, Willimon crams in detail that could be left aside.

It isn’t much of a spoiler to say Lena’s religious beliefs shape events – it’s easy to see the twist that she’s the mastermind and even to guess her eventual fate. Nonetheless, any mentions of blind faith are highlights, as is Willimon’s ability to reconcile contradictions (like those the play takes its title from). You might expect a little more scepticism, but sections connecting art and myth are well written and aided by David Ridley’s musical direction and some video design by Zakk Hein.

There are more problems with characters, though, and two really hamper things. A very standard Federal Agent (that Alec Newman manages to save) seems to belong in a different play. It’s odd that a government oversees the programme at all (and ironic most of us would feel reassured by that). Far worse is Lena and Sasha’s boss, a former academic so clichéd he could have been written by… no, I won’t say it. His insufferable word soup is dire and its delivery, by Cliff Curtis, is poor. The role is key, surely intended to help the audience out. But the character is a bad teacher, and the play suffers horribly as a result.

Until 15 March 2025

www.hampsteadtheatre.com

Photos by Manuel Harlan

2017

“Who’s Afraid of Virginia Woolf?” at the Harold Pinter Theatre

Casting doesn’t get more exciting than this. For the first revival of Edward Albee’s masterpiece since his death last year, Imelda Staunton and Conleth Hill take on the iconic roles of George and Martha, the feuding couple whose frustrated lives on a New England college campus are full of twisted alcohol-fuelled fantasies. Imogen Poots and Luke Treadaway, as the younger Honey and Nick, join them for a party – unfortunates drawn into troubled lives for a fight night they will never forget. The stage brims over with talent for this astounding play.

George and Martha’s “exercise” of combat is frightening. Their aim at one another is practised and potent, themed on his stagnant career and her drinking and adultery. Their “games” escalate ferociously – and they start out pretty vicious. Staunton and Hill convey the complicity between the couple perfectly, who display a mix of resignation and excitement over their perverse sport. The final scene, revealing who is really the most damaged, shows how carefully constructed both performances have been. Yet it is the younger cast who offer the most insight into the play. The 1966 film shows how easily these roles can be eclipsed, but Honey and Nick are more than sacrificial pawns. Potts and Treadaway work to create a convincing relationship, a foil to their elders. Potts does a great drunk (never to be underestimated) and Treadaway adds an edge to his “smug” character with cold ambition and repressed physicality.

Luke Treadaway and Imogen Poots
Luke Treadaway and Imogen Poots

Yet the production is not an unqualified success. It’s too funny. Yes, Albee’s text is full of wit but here the humour is blunted and misogyny unquestioned. Director James Macdonald hasn’t mistakenly stumbled into his approach and clearly gets what he wants – big belly laughs. But it is a disappointment. Take a moment of physical violence (noting how rare and strange it is) and Honey’s reaction to it: Potts gets a roar of laughter but this should be a moment of raw bestiality. Macdonald has stripped the play of surreal touches, such as George’s ironic obsession with order. Deliberate mistakes, over job titles, locations and dates, are treated glibly when they should be unsettling. Too much of the comedy is treated as sparkling and fresh – it should be fetid and uncomfortable. George and Martha’s “flagellation” is sordid stuff, but here it feels like a drawing room comedy.

Until 27 May 2017

www.whosafraidofvirginiawoolf.co.uk

Photos by Johan Persson