Stratford Festival review: Strong acting brings Othello to life on the Tom Patterson Theatre stage

Members of the company, Othello. Stratford Festival 2026.

By: Galen Simmons

There is no shortage of strong performances in director Haysam Kadri’s production of the Shakespearean tragedy, Othello, this season at the Stratford Festival.

This production’s cast is anchored by the remarkable talents of André Sills as the titular character.

Sills is a powerhouse when it comes to portraying raw emotion and authority, two traits his character has in spades. His ability to take Othello from moments of joy in his love for Desdemona (Krystin Pellerin) and triumph in beating back the Turks on Cypress to suspicion, madness, cruelty, rage and finally anguish as he falls for Iago’s (Evan Buliung) deception is on full display in this performance – and it is truly something to behold.

Buliung’s portrayal of Iago is equally moving, only in different ways. The actor’s ability to deliver Iago’s secret grudge and his deep desire for money and power as he conspires to turn Othello against those closest to him by convincing the Moor his wife is cheating on him with his most trusted lieutenant, Cassio (Jordin Hall), gives the audience a truly detestable yet ingenious villain who clearly understands the innerworkings of jealousy and mistrust.

For her part, Pellerin offers a heartbreaking performance as Desdemona, a woman who loves her husband dearly and only wants to see her friend, Cassio, back in his good graces. Pellerin’s portrayal of Desdemona’s innocence in the face of a crime she knows nothing about, and then her tragic death at the hands of the man she had trusted above all others is the motivation Othello needs to kill Iago and then himself in a fit of guilt and anguish.

I was similarly enthralled with Jessica B. Hill’s performance as Emilia, Desdemona’s loyal and clever lady-in-waiting, and Iago’s wife, who uncovers her abusive husband’s secret plot too late and renounces him to secure justice for her best friend, despite it leading to her own murder at the hands of Iago. Hill’s portrayal of Emilia’s fierce loyalty to Desdemona and her unbreakable bond with her friend, even in death, adds another layer of tragedy to this production.

Hall’s performance as Cassio, who is also left in the dark for much of this play as to why his relationship with Othello has soured, should also be applauded. The naive eagerness Hall portrays in Cassio to get back into Othello’s good books, especially when Desdemona offers to do what she can to help him, gives us that terrible dramatic irony this play, and many Shakespeare’s works, needs.

If only Othello had spoken with either Desdemona or Cassio about his misgivings; this whole tragedy could have been avoided.

I guess that’s why communication is key, folks.

Overall, I enjoyed this production of Othello. The lighting, soundscape, music and the set each complements the moments of madness, deception, rage and anguish perfectly.

Othello plays at the Tom Patterson Theatre until Sept. 27.