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Othello is the greatest general of his age. A fearsome warrior, loving husband and revered defender of Venice against its enemies. But he is also an outsider whose victories have created enemies of his own, men driven by prejudice and jealousy to destroy him. As they plot in the shadows, Othello realises too late that the greatest danger lies not in the hatred of others, but his own fragile and destructive pride.

"The ensemble work here is terrific but it’s the inspired playing, and the crucial shift of perspective, at the heart of the production that makes this event as electrifying as it is long overdue." (The Daily Telegraph ★★★★)

"Iqbal Khan’s gripping production has already made history by being the first at Stratford to cast a black actor as Iago. But I had not anticipated how many fascinating ideas such an imaginative piece of casting would provoke. Hugh Quarshie is an excellent Othello torn between ancient loyalties and his assimilationist position, between his aching love for Desdemona and his easily fostered insecurity... his strong Othello is reinforced by Lucian Msamati’s outstanding Iago. Joanna Vanderham is a striking Desdemona, combining a tactile physicality with total devotion to Othello. " (The Guardian ★★★★)

"The production, with a palatial set designed and lit by Ciaran Bagnall, raises fascinating questions and grips throughout in what is a significant milestone for the RSC." (The Independent)

"Iqbal Khan’s compellingly fresh production casts at its heart two black actors. Lucian Msamati’s charming, charismatic Iago sets out to destroy Hugh Quarshie’s restrained and anti-heroic Othello out of an inexplicable hatred that cannot easily be categorised as racism.[A] Compelling and freshly focused, anti-heroic and unlyrical production, packed with twists and surprises." (The Stage ★★★★)

The King and his friends take an oath to dedicate themselves to a life of study and avoid the company of women for three years. No sooner have they made their idealistic pledge than the Princess of France and her ladies-in-waiting arrive, presenting the men with a severe test of their high-minded resolve.

"This is the most blissfully entertaining and emotionally involving RSC offering I’ve seen in ages. " (The Daily Telegraph ★★★★★)

"This is, in its entirety, an endeavour that sings: poignant, impassioned and gorgeous ... Brilliantly comic…extraordinarily powerful" (The Times ★★★★★)

"A marvel…immaculately co-ordinated." (The Daily Mail ★★★★★)"These productions are a joy…Edward Bennett and Michelle Terry make a splendid pairing." (The Sunday Times ★★★★)

"This imaginative pairing makes total sense. If love is thwarted in the first play, it is triumphantly fulfilled in the second." (The Guardian ★★★★)"Everything about Edward Bennett's winning performance as Berowne, applies also to his Benedick…Michelle Terry's Beatrice navigates the character's acerbity, melancholy and romantic insecurity with a mastery far beyond even her accustomed brilliance; this is a star-making performance." (The Financial Times ★★★★)

"Exquisite….Cherishable… Immaculate" (The Evening Standard ★★★★)

"Quite simply, the best plays you'll see anywhere." (The Sunday Mirror)

Edward Bennett, 1979- Leah Whittaker, fl. 2011 Sam Alexander, 1978- Show more Show less

Britain is in crisis. An ineffectual Queen Cymbeline rules over a divided dystopian Britain. Consumed with grief at the death of two of her children, Cymbeline's judgment is clouded. When Innogen, the only living heir, marries her sweetheart Posthumus in secret, an enraged Cymbeline banishes him. Behind the throne, a power-hungry figure plots to seize power by murdering them both. In exile Innogen's husband is tricked into believing she has been unfaithful to him and in an act of impulsive jealousy begins a scheme to have her murdered. Warned of the danger, Innogen runs away from court in disguise and begins a journey fraught with danger that will eventually reunite Cymbeline with a long-lost heir and reconcile the young lovers.

"Still handles the comedy very well, though, and draws some lovely performances from her cast. Bethan Cullinane makes a brave, determined, sweetly funny Innogen: moving in her silent shock at her husband’s accusation of infidelity. Marcus Griffiths is a wonderfully bombastic and ridiculous Cloten and his attempts to woo Innogen through song are hilarious." (The Financial Times ★★★)

"It’s the strength of the performances that really make this production, and the cast's ability to draw out the underlying humour in every situation goes a long way to negating the flaws in the original text. Oliver Johnstone is brilliant as the suave, silver-tongued Iachimo, strutting about the stage and wearing all of his sexual potency on his sleeve. Some of the best scenes come when he focuses his scheming charm on the faithful Innogen, skillfully played by Bethan Cullinane. Marcus Griffith also manages to find much comic absurdity in the overblown ego of the otherwise contemptible Cloten. But these are compelling performances among many. It may not be one of the best-loved of the Bard’s canon, but this production is full of passion and humour, and is riotous fun." (The Radio Times ★★★)

"Comes straight from the heart ... It’s unafraid of emotion and boasts fine performances ... This is an evening that belongs to the Director ... Shakespeare’s derided experimental romance has the capacity to touch the heart ... Bethan Cullinane’s Innogen moved me deeply ..." (The Guardian ★★★)

Gillian Bevan, 1956- Bethan Cullinane, fl. 2012 Hiran Abeysekera, 1986- Show more Show less

A group of soldiers return from the war. The world-weary Benedick and his friend Claudio find themselves reacquainted with Beatrice and Hero. As memories of conflict give way to a life of parties and masked balls, Claudio and Hero fall madly, deeply in love, while Benedick and Beatrice reignite their own altogether more combative courtship.

"This is the most blissfully entertaining and emotionally involving RSC offering I’ve seen in ages. " (The Daily Telegraph ★★★★★)

"This is, in its entirety, an endeavour that sings: poignant, impassioned and gorgeous ... Brilliantly comic…extraordinarily powerful" (The Times ★★★★★)

"A marvel…immaculately co-ordinated." (The Daily Mail ★★★★★)

"These productions are a joy…Edward Bennett and Michelle Terry make a splendid pairing." (The Sunday Times ★★★★)

"This imaginative pairing makes total sense. If love is thwarted in the first play, it is triumphantly fulfilled in the second." (The Guardian ★★★★)

David Horovitch, 1945- Michelle Terry, 1979- Thomas Wheatley, 1951- Show more Show less