Miriam Gillinson
posted 19 June 2007

It’s easy to understand why Cymbeline isn’t performed that much: it contains a complex and spiralling plot with an exceptionally trite conclusion even by Shakespeare’s standards. That this does not feel like Shakespeare a lot of the time – Declan Donnellan has a wonderful way of stripping away the myth and really dealing with the nuts and bolts of the Bard’s text – is testament to Donnellan’s tireless and astute directing and his company’s robust and fearless acting. This here is a smooth, clear version of a play that is often anything but; a real cracker of a production, which will hopefully inspire other talents to tackle this rich and surprising text.

Very briefly – Imogen has married the faithful but lowly Posthumous, who just won’t do in father King Cymbeline’s eyes. Posthumous is hence banished and the two lovers spend the play’s duration trying to re-unite, despite the Queen’s son Cloten’s amorous intentions, some dastardly Italian meddlers and a brewing war between England and Italy. So we’ve got forbidden love, disguise and battle – the stuff that Shakespeare is made of. There are also some particularly peculiar elements to this play; gruesome beheadings, Mowgli-like princes who’ve made the woods their kingdom, and a brief appearance from Jupiter. The wonderful thing about Donnellan’s directing is that he treats all these elements – certain parts which could verge on the ridiculous – with equal care, respect and humour. He lavishes detail on the parts that could lag and shows admirable restraint during the more ‘wacky’ sections. As a result, this sometimes discordant play gels together very nicely indeed.

With designer Ormerod’s stripped back stage, Donnellan is given free rein to play with the Barbican theatre’s cavernous depth and width. Ormerod’s sparse space allows the director and actors exceptional freedom, which they use to maximum effect. Donnellan effectively creates two stage spaces – so that the frozen backstage thickens the live forestage action. With this method, Donnellan highlights the constant, threatening presence of the king and his stooges. Whilst Imogen skips around the open stage extolling the virtues of her beloved Posthumous, the looming backstage courtiers spell imminent trouble in paradise. No matter how liberating Imogen’s love might be, we are constantly reminded of the implacable and immoveable presence of the court. In opening up the space like this, Donnellan skilfully evens out the play by darkening the lighter moments and freeing up some of the heavier ones.

This subtle transition between the comic and sober elements of the play is sustained by some wonderfully versatile acting. Tom Hiddleston – who plays both the worthy Posthumous and spoilt Cloten – embodies the spirit and success of this production. His is a wonderfully varied and fresh performance, with Hiddleston treating Shakespeare’s text with admirable finesse and ease. At some points Hiddleston addresses us as Posthumous, whilst simultaneously adjusting his costume into that of Cloten. So we have moments when he’s really playing two people at once. Somehow he pulls this off with admirable flair – with his doubling up also hinting at the fickleness of male love and fidelity. It is as Cloten that Hiddleston shines though: he pours a freshness and modernity into his performance and genuinely makes it his own. Hiddleston’s crowning moment comes before the interval, when Cloten resolves to woo Imogen with music. This is no normal serenade though: instead of lutes and tender melody, Cloten and his cronies form a Shakespearean boy band. In a riff that was clearly a lot of fun to devise, the curtains swing down and Hiddleston launches into a bona-fide Pop Idol act. Not only was it a joy to watch, it also highlighted Cloten’s immaturity and gaping inadequacies as a suitor. Great entertainment then, whilst never neglecting the implications of these new interpretative twists.

Though Hiddleston is undoubtedly the star of the show, the rest of the cast play their parts with equal aplomb. Jodie MacNee is a sympathetic and feisty Imogen, with Richard Cant (though with a slightly grating Italian accent) proving an energetically sinister meddler. The only weak link is Gwendoline Christie as the queen, who speaks a great deal of her speech in a strange sing-song voice. It sounds ridiculous – doubly so considering her towering height and rather manly physique. Her death is really just an aside in the final act, which drew no complaints from me. Indeed, a lot of prominent plot twists are swept under the carpet in this packed, but flawed final act. Shakespeare just leaves himself a little too much to do – and it becomes hard to take his hasty conclusion all that seriously. All credit to this company then that despite these textual problems, Imogen and Posthumous’ final reunion still generates some real emotion. What a testament to ‘Cheek by Jowl’ that they can help Shakespeare out once in a while, with their powerful company justifying and elucidating this notoriously tricky, but highly-rewarding masterpiece.

Till 23 June 2007