A straightforward period production evokes memories of A-level English Othello Shakespeare's Globe, London SE1

Othello was my A-level set text. It was Mr Millard's O-level set text. Watching it at the Globe was a disconcerting experience for both of us. This is because Wilson Milam's production is such a perfectly period affair, with a full panoply of swords, corsets, tie-up stockings and lutes, that essay titles kept popping up in my head ("Iago: complex character or pure villain? Discuss"; "Othello is more fool than classical hero. Discuss"). I couldn't help it. Every soliloquy provoked a Pavlovian response involving a copy of The Arden Shakespeare and Wimbledon General Library.

This was largely because Milam has done nothing more than produce a decent version of Othello, with nothing added to lift it above the heap of "venerated classics". Nothing wrong with venerated classics, but when you are handling something that has "set text" stamped all over it, it is useful to bring something else to the party. Certainly something to avoid the "here comes the Jealousy speech" moments would have been good. Something, that is, apart from the Globe's usual diversions of low-flying jumbo jets and people around you eating crisps.

Indeed, if Milam had gone a bit more down the multimedia route so beloved of current theatre practice, he might have got more out of his leading man. Eamonn Walker, playing the first black Othello at the Globe (in either its modern incarnation or the Shakespearean original), is a television star who has had roles in ER and the American prison series Oz. He has even played Othello on TV before, in a modern adaptation by Andrew Davies. Here on stage he cuts a gorgeous, glamorous figure in knee-high leather boots with swashbuckling sword. At one point, he arrives in snow-white robes and a turban. What he does not do is translate on to the stage Othello's magnificent allure, which so entrances Desdemona (played by Zoe Tapper, putting great force into a part that's usually drippy).

Walker does his best, but lacks the vocal technique for such a big, open-air venue. Consequently, he either shouts, or whispers hoarsely. This, as well as being mightily monotonous for a play that runs over three hours, also has the effect of making his Othello appear more like a gullible fool than a tragic hero. (Discuss.)

Meanwhile, focus on the star turn, Tim McInnerny as Iago. One would have thought that all those episodes of Blackadder would have made it impossible for McInnerny to wear doublet and hose and still look serious, but he pulls it off.

His Iago is middle-aged, balding, slightly paunchy; a man who dips his head when he is lying; a man riven by envy of others whom he fears have bested him sexually ("'twixt my sheets/He has done my office"), and whose main chance for martial glory has all but passed him by. McInnerny seems to be forever on stage, observing, listening, lining up a cast that will help him in his Machiavellian quest for power. His eyes don't fire with thwarted ambition: they are dead, and deadly. Given his Blackadder provenance, McInnerny has wisely avoided a "Man of Total Evil" take. Rather, he gives us a portrait of a schemer with perfect timing. He is like a tennis professional who takes his time, seeming hardly to move, but, when his moment comes, is able to whip the ball over the net with razor-sharp accuracy.

His pawns Cassio (Nick Barber) and Roderigo (Sam Crane) are played with great conviction. Crane is particularly effective as the foolish fop with such eager compassion that you are sorry when he comes to a sticky end. The sticky end, actually, is by far the strongest moment of this Othello. Walker finally meets (rather than mumbles) the challenge of the drama, and Tapper puts up such a furious self-defence that, at one point, you hope Desdemona might have a lucky escape. Were we about to witness Othello: the happy ending? Not likely. This is a straight up and down production, perfect if you go to see it with a student, but probably not perfect if you like a bit of twist in your tragedy.

For further info and booking details visit http://www.shakespeares-globe.org

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