Liverpool Sound and Vision Rating * * * *
Cast: Gillian Bevan, Bethan Cullinane, Oliver Johnstone, Hiran Abeysekera, James Clyde, James Cooney, Natalie Simpson, Temi Wilkey, Graham Turner, Kelly Williams, Marcus Griffiths, Byron Mondahl, Doreene Blackstock, Eke Chukwu, Romayne Andrews, Marieme Diouf, Jenny Fennessy, Kevin N Goldberg, Theo Ogundipe
During the Royal Shakespeare Company’s quest to perform all 38 of the great Bard’s plays over the coming years, audiences get to glimpse gems of his repertoire that are less often performed. This production of Cymbeline showcases one of Shakespeare’s later plays, and the play shows a maturity and complexity that is a joy to behold.
Gillian Bevan’s turn as a female Queen Cymbeline works seamlessly, to the point where it almost becomes difficult to imagine a male actor performing the title role. Whilst Cymbeline as a character doesn’t drive the plot, Bevan commands the scenes she’s in with the power and authority of the warrior queen this interpretation depicts.
The performance of Bethan Cullinane as the princess Innogen is the most captivating of them all, as she shines as the tempestuous and feisty daughter of Cymbeline, whose husband has been exiled before they can consummate their marriage. As the play progresses, and the character of Innogen becomes softer and more emotionally wrought, Cullinane’s sincerity and visible soul on stage makes her the endearing focal point for the audience, and she handles with ease the hectic journey Innogen goes on throughout the play.
Honourable mentions go to Oliver Johnstone as the sumptuous Italian suitor Iachimo, whose charismatic stage presence and the fine balance between cockiness and vulnerability produces a mesmeric performance.
Furthermore, the queen’s missing children, Guideria (Natalie Simpson) and Arviragus (James Cooney) endear an audience immediately to them, and their eventual happy ending can’t help but result in genuine joy for the characters. Simpson’s powerful turn as Guideria is another example of a male role turned female that fits so well it seems more natural than the original.
Overall, whilst not one of Shakespeares most celebrated plays, in the year of the 400th anniversary of his death, this production of Cymbeline is one great celebration of the man himself.
Danny Partington