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Cymbeline
RSC, Stratford-upon-Avon
*** IN THIS creatively contemporary production of Cymbeline directed by Melly Still, the audience are exposed to two strong sides, each with a mission on their minds. Cymbeline is a play
about power and the need to have command at all times, no matter the
risk. The overall conviction of the story is well done,
however it seems at times convoluted by the choices of the director. It was hard to gauge the overall concept and I
found myself having to use my imagination to understand the time and era
in which this play is set. The programme states that this is a Cymbeline set
in Post-Brexit Britain, but this was not clear on stage. The earthy
dystopian feel of the set felt like it was a world never seen before.
The floor rose up during the performance to give way to comic scenes
with Cymbeline’s estranged family, banished into the woods a long time The best part about this production was Gillian
Bevan’s performance of Cymbeline. Bevan commanded every moment on stage
and each line was delivered with a beautiful regal authority. Her big
hair was certainly an addition to a strong stage presence and she did
well to take charge of the stage, just as her character did with her
kingdom. A g There is a lot to take in with this play, having
multiple characters and stories. It is a play that is not usually
performed as it is deemed a classic ‘problem play’. Cymbeline is also not the main protagonist. The
story follows Cymbeline’s daughter, Innogen, following the relationship
with her husband, Posthumus. After being banished for his lower class,
Posthumus finds himself in Rome where he makes a wager with Iachimo, who
believes that he can ‘win’ Innogen from Posthumus. The overriding story is concise and well done, especially when the cast are strong. Oliver Johnstone is wonderful in the role of Iachimo and he gives the audience a full and trusting performance. On this particular evening, Innogen was played by understudy Temi Wilkey. In true Shakespearean style, and with a
performance that lasts for three hours, there are subplots and countless
characters who also make up the essence of the story. It was a shame
that in some parts, the story was confusing due to unclear choices and
moments that needed to be highlighted. It could be said that an audience
member would have to know Cymbeline before seeing Still’s production. There were effectively two sides which the
characters fell into: the valiant Romans and the British. Both argued
for what they believed was right. A fantastic addition was that
characters would speak Italian during scenes set in Rome. This
differentiated the groups brilliantly and showed great artistry to the
importance of language. It was an interesting concept to hear and watch,
especially with a Shakespearean translation. Subtitles were seen at the
back on rotating flats that were also effective during quick scene
changes. Because this play has so much to tell, with multiple plot lines and characters who change their mind in an instant, the concept of the story and main themes must be established and understood for the audience to follow.
Unfortunately, in Still’s production, this was
not totally achieved. The entire company showed great stage presence and
acting was of no fault, which naturally helped us follow the story. It
seemed that there was not a clear view of where moments of comedy and
tragedy would take place. It was uncomfortable to see scenes with the
upmost seriousness played for comic value, for example a potential rape
scene between Innogen and Iachimo. The choice of costumes also made the production
hard to understand and did not determine a strong concept. This of
course gave us a vague understanding of the overall message that Still
wanted to achieve. Overall, as one of Shakespeare’s lesser known
play’s, Cymbeline has a strong central plot which is fully engrossing.
The cast are strong and the effort is outstanding. The set is creative
but does not link well to the concept, which is not clear from the
start. With a total of thirty denouements, it is probably suggested to
read about this particular production before watching it. To 15-10-16 Elizabeth Halpin 03-06-16
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ago. It revealed the roots of a tree giving the impression of deserted
lands where there are no rules.