Stephen Kearley Reviews OTHELLO
⭐️⭐️⭐️⭐️⭐️ “Atlas Shakespeare Company proves Shakespeare doesn’t need gimmicks to be riveting.” - Stephen Kearley, The BroadGAYS
William Shakespeare’s OTHELLO, adapted and directed by Adriana Alter, is now playing at the Underground Theater at Abrons Arts Center through June 28th.
The tragedy follows Othello, a celebrated military general whose trusted officer, Iago, sets out to destroy him after being passed over for a promotion. What begins as professional jealousy spirals into manipulation, suspicion, betrayal, and ultimately one of Shakespeare’s darkest cautionary tales about jealousy and the people willing to weaponize it.
I’ve seen Othello before, including the recent Broadway production. Under Adriana Alter’s direction, Atlas Shakespeare Company’s production is a tremendous success. Rather than trying to outsmart Shakespeare, Alter simply tells the story well - and that’s exactly why it works.
Alter’s adaptation keeps the narrative moving while making the language remarkably accessible. She trusts the play enough to let the story do the heavy lifting. That’s a smart choice. Othello is already packed with enough jealousy, deception, office politics, and emotional destruction to fuel an evening of theater. The result is a production that feels clear, engaging, and surprisingly easy to get swept up in.
William Oliver Watkins delivers an excellent performance as Othello. He carries himself with the confidence of a man who has earned every bit of his reputation, making his eventual unraveling all the more painful to watch. Watkins finds a compelling balance between charm, pride, and vulnerability. I’ve seen several productions of Othello over the years, and this was one of the most effective interpretations of the role I’ve encountered.
Across from him, Clayton Hamburg gives us an Iago who is funny, charismatic, and strangely likable. That’s exactly what makes him so dangerous. Hamburg never plays the character as a cartoon villain. Instead, he feels like someone you’d genuinely trust, which makes watching him manipulate everyone around him all the more unsettling. His scenes are some of the strongest in the production.
The supporting cast is equally solid. Charlotte Blacklock brings warmth and sincerity to Desdemona, while Leah Schwartz makes a strong impression as Emilia. Patrick Ryan Robinson’s Duke commands attention the moment he appears, and the company as a whole handles Shakespeare’s language with confidence and clarity.
Atlas Shakespeare Company has developed a reputation for strong costume work, and this production continues that tradition. Everi Osofsky’s costume design gives the world texture and personality, with several looks standing out throughout the evening. Aiden Dalton’s sound design helps create a sense of atmosphere inside the Underground Theater, and Paul Schack’s fight choreography delivers exactly what you want from a Shakespeare tragedy: sword fights that feel exciting, dangerous, and very real.
The Underground Theater isn’t my favorite performance space in the city, though its intimate size works to the production’s advantage. The audience sits close enough to catch every glance, every lie, and every moment of suspicion as the tragedy unfolds.
At approximately two hours and forty-five minutes, including one intermission, there are a handful of moments that could move a bit faster. Still, the strength of the performances keeps the evening engaging from start to finish.
Most importantly, this production never feels like homework. Shakespeare can intimidate audiences who don’t spend their free time reading Elizabethan drama, but Atlas keeps the story front and center. The result is a production that feels alive and immediate more than four centuries after it was written.
Give talented actors a great script, clear direction, sharp costumes, and some swords, and the result can still be riveting.
⭐️⭐️⭐️⭐️⭐️
Playing through June 28, 2026
Underground Theater at Abrons Arts Center
466 Grand Street
For tickets and more information:
By William Shakespeare
Adapted & Directed by Adriana Alter
CAST:
Patrick Ryan Robinson - Duke of Venice / Montano
J.B. Alexander - Brabantio / Gentleman
Charlotte Blacklock - Desdemona
Ethan Baker - Lodovico
Gabe Girson - Roderigo
William Oliver Watkins - Othello
Ryan Molloy - Cassio
Clayton Hamburg - Iago
Leah Schwartz - Emilia
Maya Koshaba - Messenger / Bianca
CREATIVE:
Alexander Nero - Producer
Aiden Dalton - Sound Designer
Everi Osofsky - Costume Designer
Tim White - Lighting Designer
Paul Schack - Fight Choreographer
Leah Schwartz - Fight Captain
A. Kasper - Stage Manager
Sebastian Fernandez - Production Assistant
Photo Credit: Mercedes Wilby
Runtime: Approximately 2 hours and 45 minutes with one intermission