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“In my beginning is my end,” TS Eliot wrote in Four Quartets, and as we end our (subjective) survey of the stand-out moments in the National Theatre’s remarkable and rich 50-year history, there’s a neat satisfaction in realising that one of the company’s earliest hits has found an echo this year in a production that also reveals how much times have changed. Where once Laurence Olivier applied black-face to play the Moor, in Hytner’s “witty, agile, lucid and deeply felt” modern reading, transposing the action to a recognisable world of pubs, pop music and British militarism today, that outstanding black actor Adrian Lester took the honours. Complemented by the lurking, savage intensity of Rory Kinnear’s Iago, this production in its own right sums up the achievements of the past 10 years, the sense of continuum that only the National affords and, let’s face it, the value of subsidy.
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