Paul Taylor, The Independent. The writing in these separate monologues — playing together on a double bill at the Public Theater — [ Finally reunited with her, suitably chastened, Posthumus hugs her close: Sun, 25 February How on earth do you put that on stage without provoking giggling rather than pity? He presents this action packed play, as a savagely dark powerful political drama. Costumes and clothes were expensive in the Elizabethan period, so there must have been a lot of using what they had available, making-do.
He plays Cloten, Cymbeline’s clodpole stepson, as smarmy and self-satisfied, quickly stung to the core by his intended wife Imogen’s mocking rejection. Directed by Declan Donnellan. Donning a mac and specs, his Posthumus looks so much more intelligent, but, swiftly goaded into a jealous rage at Imogen’s perceived inconstancy, he proves no less a fool. The handling of the potentially ridiculous crescendo of coincidences and reunions in the final scene is quite masterly. Even this isn’t the performance of the night, though, as Tom Hiddleston imbues the tumble-of-events excuse for a character that is Posthumus with compelling humanity, as Othello-like doubt is eventually vanquished by redemptive love. Nick Ormerod’s design is typically austere. By showing everything to be mutable and inter-related, Donnellan gives these concerns piquant theatricality, and his most brilliant stroke of inspiration is to connect together the characters of Cloten and Posthumus, by having one actor Tom Hiddleston play both parts. Fiona Mountford, Evening Standard.
Cymbeline – Variety
Premier Logo Created with Sketch. People are sometimes surprised by how pragmatic theatre is.
Over in Italy, the tragedy is compounded cheei Posthumous is too quick to believe that his wife has betrayed him. Such exquisite presentation, aided greatly by Judith Greenwood’s lighting, doesn’t just add clarity, but also depth. But I need to move pretty quickly to get a set designed and costumes made. The jowp seduce and spurn each other, banter artfully, advance and retreat, caress and avoid. At the Barbican, Declan Donnellan has the answer: Jodie McNee’s Imogen exists only in th eyes of men, until she leaves the court disguised as a boy, and discovers herself.
With their black suits, neat ties and dead eyes, they might easily be taken for the cabinet of any head of state of the period.
BBC – Shakespeare Lives, Shakespeare’s Globe The Complete Walk: Cymbeline
In the opening scenes, Jodie McNee wore a red ballgown as Imogen; Tom Hiddleston, who played her husband Posthumus and her half-brother Clotenhad a dark suit and a raincoat. It is the male gaze that holds sway here. In one hilarious scene, Imogen Jodie McNee in drag, dressed as a sort of thirties vagabond, repeatedly approaches her beloved Wafch and he unceremoniously pushes her away, again and again, like an overaffectionate stray dog.
Hiddleston executes bravura switches between the two men, the one dominated by his mother Gwendoline Christie’s wicked Queenthe other motherless – both unstable. Cymbeline wraps the gorgeous simplifications of a fairy tale around complex questions about human nature. Fidelity, chastity and faith are so much harder to portray than vice, and she succeeds in bringing the virtuous princess to life, creating a flesh and blood character.
Download mp3 right click and bg target as” 5. At each turn, we see people struggling to adjust to bewildering new realities and the mood at the end is expertly mixed, allowing a sense that some things cannot be resolved to complicate the atmosphere of wonder and spiritual transcendence.
Shakespeare’s Globe The Complete Walk: Cymbeline
Declan Donellan’s production of Shakespeare’s most Elizabethan play, is a production for our own violent times. Which leaves us with Imogen, generally considered to be the heart and soul of this play.
It’s overpoweringly gloomy, only relieved by the women’s glittering evening dresses? This Bagpuss of an ancient Britain set piece, with its away-with-the-fairies feel and torrent of unlikely climactic revelations, lurches unsteadily between myth, politics and romance.
It gives a further layer of unsettling significance to the notorious scene where Imogen an ardent Jodie McNeeawakening next to the headless corpse of the idiot, mistakes it for her husband. The men lounge around in gangs, like bullies at the edge of the school playground, with Cloten as cock-of-the-walk.
Designer Nick Ormerod has stripped the stage back to create vast, fluid space in which the characters are grouped like eddies and tides in a great sea. Nick Ormerod’s design is typically austere.
From the moment a set of swag curtains are hoisted aloft to hang over the Edwardian-costumed action like a pair of ironic quotation marks, there’s no let-up. Cymbeline has been by turns classified as a comedy and as a tragedy, and this production explores all of the possibilities, with chic film noir costumes and styling and many nods to the great films of the 30s and 40s that were at once understated and winningly screwball.
Guy Flanagan is a traitor, with all the airs of a City cy,beline.
Advertise About Tips Contact Us. Sign jlwl with Facebook. The first inspired move from director Declan Donnellan and designer Nick Ormerod is literally to open the world of the play out. Directed by Declan Donnellan. Imogen and Posthumus’ leave taking is conducted at a distance; Gwendoline Christie’s Queen towers over her husband like a Valkyrie.
Donnellan is a master at not just placing the actors but also drawing your attention to the space between them. One scene pours into another. If ever a Shakespeare play needed to be taken firmly in hand, it’s Cymbeline. In earlier moments, Imogen in a blood-red dress tauntingly seduces the loathsome Cloten even cymbsline she rejects him.