So - I saw last nights preview performance of "Cymbeline" at LCT and thought I should post a review.
First I should note - I am VERY familiar with this show. It's been one of my favorites from a very young age, and I actually played Imogen in an off-Broadway production a couple of years ago. So I know this show backwards and forwards.
Overall I had a great time. The two things that really impressed me about this production were its ability to find the humour, and its solid presentation of the various foils (such as Clotton/Posthumous, Rome/Britain, etc.)
The set was lovely, as were the costumes and lighting. Though I have to say, I'm not sure everyone on the production staff reached a concensus about when they had decided to set the story. Towards the beginning of the play Imogen appears in a BEATUTIFUL white/pink/and turqouoise dress worthy of Belle in "Beauty and the Beast" and later we see some sort of soothsayer who looks like he just stepped out of the stone age even though he's a high official from Rome. In terms of lighting - there was one stunning moment right before intermission when Imogen (in her white dress) is bathed in stars. Lovely.
Now for the cast. And I have to say it's rather mixed. First the bad. Phylicia Rashad was terrible. I say this with extreme reticence as I'm a big fan of hers, and have actually had the opportunity to meet her in person. She is a beautiful person, and a beautiful actress, but this just isn't her role. She's just not wicked. At all. I wouldn't mind this if the wickedness was replaced by a fully fleshed out three dimensional person, but it seems (and if this is the case, it's certainly not her fault) as though her entire direction consisted of the phrase "So, your son Clotton's an idiot. We need to see where he gets that from." For me this story has a lot in common with "Snow White" and if you don't believe that the Queen is a threat, there's a problem. The audience was laughing at her soloquies about how she was going to kill Imogen and Pisanio. Not good. However I did like her screams at the end when she was dying.
Actually this brings up another issue. I could barely hear the actors! Ms. Rashad was probably the worst offendor - but none of the actors were miked and (while I'm all for unmiked performances) LCT is not designed for it, and the actors didn't seem to be making much of an effort to project. Enunciate - yes. Project - no.
Ms. Plimpton - I like her very much as an actress. But to be honest, she was just too old for the role. Imogen is supposed to be in her late teens/early twenties. Ms. Plimpton while certainly beautiful, and attractive, actually looked older than Ms. Rashad. The blonde Alice in Wonderlandesque wig didn't help. And (as someone who's played the role) she skipped a lot of lines. I know that it's common to cast someone older in such a famous role. But for me, this one didn't work. (By the way - check out Helen Mirren's performance as Imogen in the BBC filmed production.)
Michael Cerveris - again I think he was miscast. I actually liked him much better in the second act. He was doing his best, but I just didn't think it was the right role for him. Again, the wig didn't help - he looked like Legolas's long lost (brunette) brother.
John Pankow as Pasanio was forgettable - which made me very angry as he is one of my favorite characters in the show.
Oh - and Cymbeline kept forgetting his lines.
Now to the good. Jonathan Cake as Iacamo was BRILLIANT! Perfect in the role. And I could understand everything he said. He went from being a Rupert Everetesque braggart in his "wager" scene, to being a nervous schoolboy in his scene with Imogen. I couldn't wait for him to come back on stage.
The two brothers were also wonderful. Their commitment and deadpan humor brought much of the humor into the show with out sacrificing the depth and heart.
With that said - there was something that greatly irked me.
I know it's common in shows to have private onstage jokes, or gags. Believe me I understand. But I found it EXTREMELY inappropriate when those gags are being done 1.) In a dramatic Shakespearian scene 2.) When you're only on your THIRD PREVIEW (I find these gags more common, and a little easier to forgive when the cast has been doing a show for a very long run, and 3.) When there is no attempt to hide them from the audience. One of the brothers (I believe David Furr) while carrying the supposed dead Imogen to her grave was fondling her breasts, and tickling her both on her breasts and on other parts of her body. Later in the last scene when Imogen's back is to the audience and David Furr was facing her, he burst out laughing at a (not totally hidden) face she made at him. NOT COOL. Come on people. We're not five.
Cloten did a good job - and though I didn't think he was totally right for the role, in this production he was the perfect foil for Posthumous.
Herb Foster was hysterical as Cornelius. He decided to make the character slightly senile and added much humor, and many a belly laugh to the proceedings while still making us believe that he cared about the events taking place.
I also loved the two "Gentlemen" who served as narrators.
The suprise performance of the evening was Ezra Knight at a minor, and often forgettable role - that of Caius Lucious - the Roman officer. He was in turns strong and imposing, and gentle and loving and gave the entire play new meaning by identifing said characteristics with the Roman army. This is the first time seeing the show when I actually wouldn't have minded the Romans winning.
Except for the odd direction of the Queen, I found the direction to be pretty solid. Mark Lamos seemed to conclude that "Cymbeline" is about the danger of following your passions to their ultimate end - and it was clear in every choice made (something that can't often be said for theater in general, let alone Shakespeare. The plot was made very clear by having action take place in slower time, or tableaus while characters spoke their asides directly to the audience in their own light. Actually I think this production took full advantage of using the audience in asides, and I was very thankful. Everyone and everything was a foil for something else - right down to Imogen and Posthumous being foils for Britain and Rome. They were really able to unify both parts to the show - including the "Jupiter" section.
My only other problem was I'm not sure if they intended everything that was funny to be funny. There were several dramatic moments where the audience would burst out laughing and the cast would seem genuinely suprised.
All in all it's a very smart production of the play, though perhaps not the BEST. I had a lovely time, and I reccomend it - if for no other reason then to familiarize yourself with this BRILLIANT but lesser known Shakespeare play.
Broadway Legend Joined: 4/5/04
Thanks for the superb review. Glad to hear Ezra Knight (a very old friend of mine) is doing such good work.
Broadway Legend Joined: 5/15/03
I admire any review that starts with the word "So".
Broadway Legend Joined: 5/15/03
I'm happy to learn that Jonathan Cake isn't crummy in this production!
Yup he is.
Thanks for the complements!
Just to clarify - the "Yup he is" was in reference to Michael Cerveris playing Posthumous
Bump
Broadway Legend Joined: 6/12/06
I started reading the play this past Thursday and was hoping to see it this weekend, but haven't been in the mood. I also couldn't decide whether or not I should go in before finishing or finish it before seeing it. What do you think, Elphie? Semi-blank slate or freshly-read?
I would go before you finish. I always say you'll have a lifetime to see it once you know the play, but only once before you know the play.
Bump
Great review Elphie! I agree with most of your opinions regarding the show. It's true that Plimpton does not look a like she's in her twenties anymore, but is still quite beautiful and radiant onstage. I thought that having Imogen being played an actress in her thirties added a level of wisdom and desperation to her character, thus adding to her frustration of being separated from true love after years of searching for it.
Also agree about Ms.Rashad. When her back was turned I had a very difficult time understanding her, it was almost as if she was mumbling.
I was also surprised at John Collum's lack of stage time. The show is called Cymbeline, but he seemed to be a secondary character. Shakespeare should have titled the show "Imogen"!
Updated On: 11/4/07 at 10:13 PM
Thanks for the complement!
In terms of the title - that's been a problem for most people seeing/doing the play. However when you look at it in context - the play was loosely based on the incident of King Kymbeline (I think that's how you spell it) and how he brought peace to Rome and Britain. That's the story audiences would have known going in to it in Shakespeare's day - but then he twists it and uses it as a back drop for Imogen's story.
I got my tickets for Saturday evening, December 8.
Thanks for the insight, Elphie3, though I scrolled through your review quickly, only looking for key-words (don't want too much spoiled)
I recently saw Cymbeline for the first time at Chicago Shakespeare Theatre. It was a good production, but I would have to say that it's far from being one of Shakespeare's greatests works. And I hate to say it, but Michael Cerveris and Martha Plimpton are WAY too old for their roles. Posthumous and Imogen are supposed to be in their twenties!
I agree.
And I know that it's pretty well agreed upon that it's not Shakespeare's greatest - but it's one of my favorites and I think it's a lovely play. It's so similar to Snow White!
By the way - let me know if anyone would like a plot summary. I know Shakespeare's plays can get very confusing.
In response to some questions - theres really no bad seat for this show.
Just saw this last night. What an insane play. Though I'd say that parts of this were too long (a few scenes could have been cut in this production in my opinion, maybe a good 20-30 minutes could have been shaved) I had a good time.
But I had a good time mostly because this was, to me, the epitome of a "what was Shakespeare thinking?" play. So many plot turns, so many convoluted twists, and a literal Zeus ex Machina in Act 4 or thereabouts. As you mentioned, there were various points where the audience laughed and I couldn't tell if it was intentional; I'm SURE that the idea in Shakespeare's time wasn't to make the audience laugh 5 or 6 times during the last scene when the servant, who just heard the Queen's last dying words, kept "remembering" things that the Queen divulged in order to neatly wrap up the plot.
What a weird, weird play.
Aw, Billy was havin' some fun...and the language is as florid and beautiful as R&J.
Looking forward to this, but I don't think its gonna top Bart Sher's ancient-Japan meets the Old West production at Theater For A New Audience several years ago. A production that was every bit as quirky as the play.
Yeah, it is one of the "problem" plays, but I still like it. To me, it's kind of like Shakespeare does "Snow White"
As requested, here is the synopsis. NOTE: SPOILERS AHEAD!
Ok, so I sort of view "Cymbeline" as Shakespeare's version of Snow White.
The story is based on the life of the actual King Kymbeline who was the King of Britain at the height of the Roman Empire. But except for the war between Britain and Rome, almost everything else is fictional.
The story opens in Britain where the court of King Cymbeline is in an uproar. In explaining why the Kingdom is in such a state a British nobleman tells a visiting nobleman Cymbeline's history.
Many years ago Cymbeline had two sons who dissapeared in infancy leaving their younger sister Imogen sole heir to the Kingdom. Not long after, the Queen died, and Cymbeline remarried a beautiful, but wicked and manipulative Queen with a son, Clotten (who is as stupid as his name makes him seem) from her previous marriage.
In the meantime on of Cymbeline's bravest soldiers Leonatus was killed, along with his oldest sons, leaving his youngest son orphaned. Cymbeline adopted this boy, named him Posthumus Leonatus, and raised him alongside Imogen. Cymbeline and his new Queen decided to betroth Imogen and Clotten, but Imogen who had fallen in love with Posthumus (a man more greatly estimed than any other in all of Britain) ran off with him and married him. Now Cymbeline has banished Posthumus, and imprisoned Imogen. And though the whole court is sympathetic with Imogen, they pretend to be sympothetic with the King.
In the first scene Imogen and Posthumus say goodbye. Before Posthumus departs for Italy he gives Imogen a bracelet, and she gives him a ring that they swear to never take off. We find out that Britain is required to pay a tribute to Rome, and have not paid it. An emmisary from Rome is coming to collect it. Posthumus's faithful servant Pisanio stays behind to care for Imogen in his absence.
We quickly discover that the Queen hates Imogen, and has determined to get the throne for her son Clotten. She has been acquiring poisions from the court apothicary to "experiment with on cats and dogs." But when she asks for the deadliest poision known in Britain, the apothicary suspects her true motives, and exchanges the poision for a sleeping potion (similar to the one Juliet took in "Romeo and Juliet") that will make the drinker appear dead. The Queen gives it to Pisano telling him it is an herbal remedy that she has used many times on the King. When Pisanio departs, the Queen vows to give the same potion to Imogen unless she relents and marries Clotten.
In Italy Posthumus gets in an argument with a young man named Jachamo about the fedelity of women. Jachamo bets Posthumus that he can go to Britain and seduce Imogen. Posthumus agrees to give him Imogen's ring if Jachamo wins. Jachamo goes to Britain fails horribly, and then, not wanting to loose sneaks into Imogen's bed chamber after she is asleep, memorizes what is in it, notices that Imogen has a mole on her left breast, and steals the bracelet that Posthumus gave her. He returns to Italy, presents his evidance, and convinces him that he slept with Imogen. Postumus is thrown into a rage and writes to Pisano ordering him to trick Imogen into going into the woods and then Kill her. Pisanio tells Imogen that Posthumus is waiting for her at Milford Haven and they both run away into the woods. Once there Pisanio reveals the command of Posthumus and declaires that he can't kill Imogen, but instead suggests that she disguise herslf as a boy, and travel to Milford-Haven to find Posthumus and set all to rights.
Imogen does as Pisanio suggests, and before he leaves he gives her the "herbal remody" the Queen gave him. He goes back to court, and Imogen sets out. She gets lost and comes across a cave that is oubviously occupied, but empty at the moment. She enters, and eats the food left on the table, but is quickly discovered by the occupants - an old man and two young men a little older than Imogen. Imogen calles herself Fideile and begs for shelter. The men accept her at once declairing her their brother.
Meanwhile, the Roman emmisary has come to Britain and declaires that if Cymbeline does not pay the tribute they will go to war. Cymbeline refuses, and war is declaired. Clotten forces Pisanio to tell him where Imogen has gone, dresses in Posthumus's clothes (to annoy Imogen) and goes after her planning on raping her and killing Posthumus.
Imogen is taken ill, and after insisting that her hosts go hunting as they were planning to do, she takes Pisanio's drug, and immediately falls into a death-like sleep. Clotten comes across one of the men in the forrest and not knowing who he is (only that he is rude and disrespectful) beheads him. Just as they are about to bury him they find Imogen's body, and after mourning her, bury her and the headless body of Clotten side by side. Imogen wakes, and finding a headless body dressed like Posthumus assumes that Posthumus is dead. The Roman soldiers find her weeping over his body. She tells them he was her master, and is invited to serve them. She does, and they head back to Britain.
Posthumus has been told that Imogen is dead, and full of remorse heads back to Britain to join in battle (as do the old man and two young men who were Imogen's hosts.) They all fight valiantly, but Posthumus is captured; and in a rather odd dream-like scene is visited by the ghosts of his family, and the God Jupiter who leave him with a prophesy about what will happen to him, and the Kingdom.
In the last scene all is set to rights. The Queen is dead, Jachamo's scheme is revealed, Posthumus and Imogen reveal themselves, and it is discovered that Imogen's two young hosts are in fact her long lost brothers. Cymbeline is so full of joy that even though he won the war with Rome, he decides to pay the tribute anyway. Imogen and Posthumus's marraige is recognized, and everyone lives happily ever after.
"I was also surprised at John Collum's lack of stage time. The show is called Cymbeline, but he seemed to be a secondary character. Shakespeare should have titled the show "Imogen"! "
Shakespeare tends to do this with some of his plays.
For instance, the play Julius Caesar is hardly about Caesar, it's about Brutus and Cassius.
Broadway Legend Joined: 2/15/05
Broadway Legend Joined: 6/12/06
When I saw it, I would've been concerned if Cullum had been on stage more; he definitely didn't have his lines down. I look forward to seeing it again, though.
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