The Academy Award-Winner Returns to His Classical Roots, Breaking Box Office Records While Redefining Shakespeare for Modern Audiences

Denzel Washington's portrayal of Othello has shattered Broadway records, becoming the most commercially successful revival of a classical play in history. This Shakespearean production is a remarkable exception in an era dominated by flashy musicals and Hollywood adaptations. With standard tickets commanding $350—triple the Broadway average—and premium seats fetching an unprecedented $900+, Othello rivals commercial powerhouses like Wicked and Hamilton. These extraordinary figures reveal more than financial success; they demonstrate a profound cultural appetite to witness one of America's most acclaimed actors in one of theatre's most complex and captivating roles.

But what makes this moment genuinely significant goes beyond box office receipts. Washington's journey to this role represents the culmination of a remarkable career trajectory that has consistently defied Hollywood's narrow imagination of what a leading man could be.

Long before becoming a household name, Washington was a young actor with a recommendation letter from his English teacher, Bob Stone, who had performed in Othello alongside the legendary Paul Robeson. This early connection to classical theatre shaped Washington's approach to his craft, even as he built his reputation in film. Remarkably, Washington first played Othello half a century ago as a 20-year-old drama student at Fordham University—a full-circle moment that adds poignant depth to his current character incarnation.

"At this point, everything I'm doing is through the lens of what God thinks." -Denzel Washington

"I think that still gives me the greatest joy: acting onstage as opposed to acting in movies," Washington revealed in a recent New York Times interview. His return to Shakespeare comes at a meaningful juncture in his life. Now 70, Washington has recently been baptized and licensed as a minister, following what he describes as a prophecy from his youth that he would "travel the world and preach or speak to millions of people."

This spiritual dimension adds fascinating layers to his approach to Othello. "At this point, everything I'm doing is through the lens of what God thinks," Washington explained. The journey to this production began unexpectedly on the set of "Gladiator II," where Washington found himself contemplating Shakespeare while seated among other "old senators" as younger actors did the heavy physical work. "I'm like, oh man, I wish [I could play Othello again], but I'm too old now," Washington recounted to Vogue Magazine. "And one of the other senators says to me, no, no, no, go back and read the play..."

In revisiting the text, Washington discovered that Othello's age is central to the character. As he points out, Iago refers to Othello as "an old black ram," and Othello himself speaks of having "declined into the vale of years." Unlike many productions that cast actors in their prime, Washington's age brings authenticity to an aspect of the character often overlooked.

"I think that still gives me the greatest joy: acting onstage as opposed to acting in movies." Denzel Washington on Othello

Director Kenny Leon sets the production in what he calls "the near future"—specifically 2028—creating a contemporary framework for the play's timeless themes. In this reimagining, Othello and his troops are an occupying force of U.S. Marines, battle-hardened warriors suddenly finding themselves idle.

"You send these men and these women out to fight for freedom, they're going to come back changed. PTSD. Something. They've got scars," Washington observed, highlighting the production's exploration of how war transforms those who wage it.

In a striking casting choice, Leon selected a relative unknown, 27-year-old Molly Osborne, to play Desdemona opposite Washington's towering presence. This decision accentuates the play's exploration of power dynamics—not just racial but those of age, experience, and social standing. In Vogue, Osborne described Desdemona as "the daughter of a prominent American political dynasty—'and she's rejecting all that.'"

Denzel Washington and Jake Gyllenhaal Discuss "Othello' on Broadway

Leon has been clear about seeking authenticity over theatrical affectation. "No pinkies up, no 'Shakespearean acting,' I don't even know what that is," Washington explained about Leon's direction. "You think that's what people were like four hundred years ago? You think that's how they went around the corner to get coffee? No. Just truth. And the truth is the truth."

The significance of Washington's Othello extends far beyond the Barrymore's walls. For generations, the role of Othello has been a complex landmark in theatre history—often performed by white actors in blackface well into the 20th century, then gradually becoming an opportunity for celebrated Black actors to claim Shakespeare's tragic hero on their own terms.

When Paul Robeson played Othello in 1943-45, it marked the longest-running Shakespeare production in Broadway history. Now, Washington follows in those footsteps, bringing his particular magnetism and gravitas to the role at a time when questions about representation and access in theatre remain urgent.

This production also marks a Broadway first—an Othello directed and lead-produced by Black men, with Kenny Leon directing and Brian Anthony Moreland producing. As Leon noted to Vogue, they're aiming for resonance rather than mere "relevance," placing the production deliberately in the near future to avoid it being "pinned down, butterfly-like, to a political position, or forced onto one side or another in this country's seemingly never-ending culture wars."

The irony, of course, is that while Washington's presence makes this a culturally significant moment for Black classical performance, the astronomical ticket prices effectively limit who can witness this milestone. With standard seats priced higher than many Americans' weekly paychecks, the production risks becoming accessible only to the wealthy—reinforcing theatre's reputation as an elite pastime rather than a broadly accessible art form.

Paul Robeson's Broadway "Othello," Act V, Scene II (1944)

A lottery system offers $49 tickets, which are limited and sometimes partially obstructed. The tension between unprecedented commercial success and genuine accessibility mirrors broader questions about who gets to participate in significant cultural milestones.

Washington's presence transforms any production into an event. His star power is such that everything from press junkets to backstage interactions becomes fodder for industry gossip. A February Page Six article claimed Washington was "screaming at the publicist" during a press day, upset about "how many interviews [he] had to do." The show's representatives quickly countered this narrative, describing any perceived tension as "collegial ribbing" with Washington ultimately "smiling and patting people on the back."

What's remarkable about Washington's career has been his ability to move seamlessly between commercial blockbusters and artistically challenging work. He's been refreshingly candid about the financial realities of his profession, admitting in interviews that he's "taken every job for money" while acknowledging that some roles (like in the 1995 sci-fi film "Virtuosity") were specifically chosen to help pay for his children's education.

This practical approach hasn't diminished his artistry but enabled a career where he could choose roles that mattered to him. His wife Pauletta—an accomplished concert pianist, Juilliard graduate, and former Van Cliburn competition participant—has influenced his appreciation for artistry. "I never looked at myself that way. I learned a lot about it, the discipline, the appreciation, from her," Washington said.

Despite the cultural significance of this production, some media outlets have found themselves shut out by the production's PR team. This writer included. While the New York Times secured their requisite interview (resulting in an exchange that the interviewer himself described as initially "distant" before improving in person), other voices that might have engaged with Washington in more nuanced conversations about the intersection of classical performance, race, faith, and artistic legacy have been denied access.

The Times interviewer candidly admitted during their first session, "We never quite figured out how to connect," before things improved in their second meeting. This complexity of engagement seems natural for an actor of Washington's stature approaching a role of such psychological depth.

One wonders what conversations might have emerged from a different interviewer's approach—perhaps someone who shares Washington's appreciation for the complexities of classical performance and its modern relevance, who wouldn't have needed to ask, "What's your favorite line from 'Othello'?" to establish a connection to the material. Interesting people tend to have more illuminating conversations with other interesting people, after all.

Washington's Othello stands out not as a farewell tour but as another evolution in a career that has consistently defied expectations. At 70, when many actors have retreated into comfortable character roles or retirement, Washington continues to challenge himself with one of theatre's most demanding roles.

Whether this production ultimately expands the audience for classical theatre or extracts maximum profit from an exclusive audience remains to be seen. What's undeniable is that Denzel Washington continues to defy expectations, creating culturally significant moments that transcend mere entertainment. And that, regardless of ticket prices, is something worth celebrating.

Derrick Hemphill covers art and culture, including Broadway, and resides in Harlem, New York.