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Show: Cymbeline
Society: Royal Shakespeare Company – RSC (professional)
Venue: Barbican Theatre
Credits: William Shakespeare
Type: Sardines
Author: Chris Abbott
Performance Date: 03/11/2016
Cymbeline
Chris Abbott | 04 Nov 2016 10:10am
Photo: Ellie Kurttz © RSC
The RSC have announced their laudable ambition to produce all of Shakespeare’s plays over the next six years, and have not fought shy of some of the less familiar titles in the early stages of this plan.
Now transferred to the Barbican is Melly Still’s gender-switching and diversely cast production, with the setting moved from Ancient Britain to a dystopian future where the old order has broken down and elemental forces have been released, and with echoes of ISIS and Brexit. It’s a concept that mostly works well for this lengthy and complex play, and even manages to make sense of the baffling series of revelations in the final act.
Cymbeline is played commandingly by the vastly experienced Gillian Bevan, immaculately coiffured even when convincingly leading her troops. Switching the Queen to a Duke perhaps works less well, although James Clyde is a suitably sinister presence in the shadows. As Innogen, Bethan Cullinane is touching and authoritative, providing justification for those who see this as the play’s central role. Opposite her as Posthumous is Hiran Abeysekera in an interesting take on a difficult role, and doubling as Jupiter during the masque.
Around these characters swirl a versatile cast taking on many roles, with Graham Turner’s Belarius a convincing outlaw and almost making us believe the unlikely story of his banishment with the two lost royal offspring. In addition Marcus Griffiths provides a more complex portrayal of Cloten than is sometimes offered.
Melly Still has provided an exceptionally clear reading of the text and within a context that adds coherence. Her work is immeasurably enhanced by, in particular, those creative team members responsible for lighting, music and design.
Music composed by Dave Price and played by an eight-piece band makes excellent use of differing instrumentation to underscore change of location. The designs from Anna Fleischle entirely reflect the production, with the stunted remains of a preserved tree standing for the state of the royal family. Rotating pillars add suggestions of location, good use is made of video projection and the upcycled costumes are fascinating. The lighting design from Philip Gladwell is most interesting, not just enhancing the designs but also pointing particular lines in the text.
This is a fascinating and timely – though long – production of a perhaps unjustly neglected play, and a worthy addition to the very welcome return season from the RSC at the Barbican.
- : admin
- : 03/11/2016