(Mark Lawson’s article appeared in the guardian, 5/4;Photo: Peter De Jersey as Cymbeline. Photograph: Ellie Kurttz.)
Royal Shakespeare theatre, Stratford-upon-Avon
Departing artistic director Greg Doran reinvigorates this tale of a royal family in crisis with clarity and intelligence
The president of the Royal Shakespeare Company, King Charles III, may be bemused by the company premiering, pre-Coronation, a play about an English king in a contentious second marriage and in which an “oath of loyalty” becomes an issue. Republican mischief seems unlikely: Cymbeline was scheduled as the RSC farewell to departing artistic director Greg Doran, who is finally staging the only Shakespeare play to elude him.
As a second leaving present, Doran has published a tremendous textbook-memoir, My Shakespeare, explaining how rehearsals start with the cast paraphrasing each line in modern speech, sealing meanings to be revealed in verse. That must have been tough with Cymbeline, a very late play with knotted poetry and a plot so convoluted that some productions add an onstage narrator.
A triumph for Doran’s method is that there is never doubt about who is or pretending to be whom. And his scholarly attention to text is shown by an unusual division into three sections. In The Wager, the exiled Posthumus accepts in Italy a creepy challenge that his England-held wife Imogen will not succumb to an attempted seduction by nobleman Iachimo. The second section, Wales, features the sex bet’s consequences, comic and gruesome, around a Milford Haven cave. The War somehow coheres the bizarre last six scenes where, through human confusion or divine intervention (dazzling gilded design by Stephen Brimson Lewis), identities flip and the “dead” wed.