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  That Othello, which he performed at the Donmar Warehouse in 2007, put Ejiofor, now 35, in the front rank of British actors. He had already impressed with a series of stage and screen roles but his Othello astonished audiences and critics alike. It won him an Olivier Award for leading actor, beating both Ian McKellen’s King Lear and Patrick Stewart’s Macbeth, and an OBE followed months later. Critics called it ‘superb’, ‘dignified’, and reminiscent of ‘a great and noble building being destroyed by a wrecker’s ball’. But the weight of the role’s significance doesn’t stop Ejiofor confessing, early in our conversation over lunch in a London hotel, that towards the end of the run he was frequently ‘having random thoughts about whether someone had managed to get tickets, or whether they’re in the house – just as I was killing Desdemona’. He laughs, an expression that engulfs his face, before teasing out a meaning to the lapses. That may be symptomatic of being in control of what you’re doing; the point when the role has become part of you.’
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