RSC Cymbeline

A terrific production ! Here's what I said for the Guide http://www.sydneyartsguide.com.au/royal-shakespeare-company-presents-cymbeline/

This is a very strong and powerful production of one of Shakespeare’s now rarely seen plays, first performed in 1611 and nowadays often classified as a ‘romance’ . It has elements of grand guignol /Jacobean revenge tragedy and is quite complicated in its plotting and many characters . It could be quite confusing unless you pay close attention.

There are three main interwoven plotlines – the British war with the Romans , the love of Innogen and Posthumus , and whatever happened to Cymbeline’s-lost children – the narratives are deftly interwoven.

Under the excellent direction of Melly Still the strong cast led by Gillian Bevan as Cymbeline and Bethan Cullinane as Innogen gave fine performances. This version is set unsettlingly in the near-future, one in which a British isolationist stance has created a landscape of desolate decay and bloody conflict with the continental powers – very topical with the Brexit debate. It is also violent in parts ( there is a beheading ).

The production is set in Ancient Britain at war with Rome but has been updated and somewhat changed – King Cymbeline ( or Cunobeline ),has here morphed into Queen (a striking,grey-haired Gillian Bevan with a long oval aristocratic face and hugely expressive eyes who is defiant for Britain).

Her consort, the “wicked step-mother” role, has been transformed into ‘the Duke’. (suave , sophisticated James Clyde) Often in productions Posthumus is cast as strong and tall with Cloten dumpy and somewhat petite but in this production this is reversed – here Cloten is big and tall, Posthumus lithe and small.

The two stolen boys in the original play are both male. Here Arviragus is male and Guideria female. ( They are shown as almost half feral forest people as marvellously portrayed by James Cooney and Natalie Simpson . ) Posthumus’s servant is male. In Still’s version Pisania is female , in a fine , solid ,doughty and supportive performance by Kelly Williams.

Shakespeare wrote all his play in English but in this production when they are in Rome they speak Latin as well as Italian and there are smatterings of other languages, too , including French , with translations in surtitles on a back screen.

When Posthumus arrives in Rome , shown as the height of decadent elegance ,he goes to a disco playing ambient techno with the posh party animals posing , strutting and preening . At other times the soundscape included haunting singing and a zither like drum . Dave Price’s score – blending wind , strings, keyboard and percussion – is superb adding just the right touch of atmosphere and depth. There are enchanting , very moving settings of ‘Hark, hark the lark’ and ‘Fear no more.’

The Romans are shown in sunglasses and blindingly crisp blue military uniforms with white detail .while the Britons of Cymbeline’s court wear somewhat tattered garments made of tweed suits or sacking.

Anna Fleischle’s striking set designs , including rubbled graffiti and – especially – a tree- ( the tree is particularly symbolic by the way) allows fluid shifts to the various locations while simultaneously providing the audience some powerful images which complement the action. Two swivelling gates are positioned at the back of the stage and there is a central pit of mud ( a grave?) . The camerawork was most accomplished and transfers this work terrifically from stage to screen , cleanly shot with dexterous use of closeup when necessary.

Through Gillian Bevan we see Cymbeline’s vacillating and she garners audience sympathy especially at the end having become a widow yet reunited with all her children – a magnificent , finely nuanced performance .
Bethan Cullinane as troubled Innogen was superb . Innogen can only find herself by running away from her mother’s court and discovering comfort in the natural world ( a bit like Rosalind in the forest of Arden) . She is presented as a survivor, brave and buoyant in times of trouble , as well as being resourceful .She accepts news of Posthumus’ alleged infidelity with shocked tears , and there is the rather bizarre , difficult scene when she smears herself in the blood of what she thinks is his headless corpse .When she is in disguise as a ‘ youth’ she is indeed almost unrecognisable.

Poor Postumus ,who suffers much too, was splendidly portrayed by small ,lithe and elegantly handsome Hiran Abeysekera . Like Othello , he is presented with faked but very believable circumstantial evidence. When he thinks Innogen is dead , wearing her bloodied skirt as a talisman and haunted by guilt and grief he unleashes his inner Shiva. Postumus is also in this production Jupiter who descends and control the odd , troubling sequence that follows with paper cutouts of people in a series of set pieces about moral dilemmas. ( For me this was the only segment of the play that didn’t work) . It is his unconscious ( as Jupiter) which leads Posthumus eventually to self-discovery and further development .
Iachomo as portrayed by devilishly handsome Oliver Johnstone was hypnotic and charismatic , with possible hints of Iago and Angelo from Measure for Measure . The scene where he spies on Imogen sleeping and steals her bracelet was passionate and intense .Does he truly reform at the end ?

Ex courtier Belarius who stole Cymbeline’s children two decades before was given a focused ,vigorous and intense performance by Graham Turner. He has a beautifully eloquent exposition scene towards the end .
Foolish blockhead Cloten has his head cut off by a fierce warrior princess yet Marcus Griffiths avoids playing Cloten as a stereotypical stage villain and makes you wonder what he is up to .

The ending with the general rejoicing reconciliation and forgiveness was cathartic and very moving , with the family reunited and Britain under Roman rule. Posthumous’ forgiveness of Iachomo was splendidly ,delicately done . The play’s denouement emphasizes the inner development of the play’s young people, but it also acknowledges the future problems as Arviragus and Guideria learn who they really are, Innogen and Posthumus have to rediscover each other again and Cymbeline has to accept and deal with her tricky situation , now she has become a yielding widow of a queen.

Running time allow 3 ½ hours including a short interval.

\Cymbeline screens at selected cinemas October 22 -26 2016 . It will be live at the Barbican in London October 31- 17 December .