Othello

This production is perfect for both Shakespeare aficionados and newcomers alike. Chiwetel Ejiofor's Othello conveys the character's love, sadness, and murderous jealousy as if it were his own, all against a backdrop of Ewan McGregor's conniving and undeniably creepy Iago, who whispers his treachery into the listener's ear when all other characters fade from the scene. While Kelly Reilly's Desdemona seems a little singsongy and unvaried, she does not violate the confines of her character, instead taking a backseat to the stronger forces of fate. The most impressive aspect of this production, however, is that there is absolutely no need for visual accompaniment. The listener not only knows who is speaking and what is transpiring at all times, but is also utterly absorbed. This production packs enough passion and power to leave one thoroughly shaken. A.A. Winner of AudioFile Earphones Award (c) AudioFile 2008, Portland, Maine

This production is something more than a first among equals with the notes, photographs, and essays that frame its text. The excellent selection of speeches and scenes, by readers who range from Edwin Booth (recorded by Edison in 1890) to Paul Robson to John Kani in Janet Suzman's memorable 1987 South African production, provides historical and critical perspective on Shakespeare's play. By coupling different actors' interpretations of key speeches, the excerpts highlight the unique features that make this play so enduring, provocative, and mysterious. This series' format offers an excellent companion for first-time readers and their teachers, but seasoned readers and theatergoers will also find the opportunity to re-experience the play with depth, clarity, and a richness of perspective. D.W. (c) AudioFile 2006, Portland, Maine

One of Shakespeare's four greatest tragedies, OTHELLO has been brought to stage and screen countless times. This recording, part of Arkangel's usually solid series of the Bard's plays, adds little to this history of performances. Don Warrington in the title role is awkwardly un-Moorish, though David Threlfall is more convincing as the villainous Iago - cold and calculating without any exaggerated fiendishness. Some of the minor characters shine also (particularly the Clown, who appears in just two scenes), but the music, often a highlight of Arkangel recordings, is unfortunately cloying and improbable in this production, adding another minor disappointment. D.B. (c) AudioFile 2002, Portland, Maine