Writer: William Shakespeare
Director: Jennifer Tang
Despite its focus on deviousness, Shakespeare’s late play is ultimately one of forgiveness, and this is certainly borne out in Jennifer Tang’s feminist retelling. With all of the heroes, save Polydore, now reimagined as women, this Cymbeline casts men as the deceivers with their swaggering need to conquer women as the main reason why some of the women end up making bad decisions. However, for all the gender swaps, Tang’s version is not a radical iteration, but it’s a whole lot of fun, especially in the second half where most of the action lies.
Innogen’s husband is now her wife. In the world created on the Sam Wanamaker’s tiny stage, the same-sex marriage is totally accepted; no one bats an eyelid. The characters view it as they would a heteronormative union like the other couple on stage, although here Cymbeline is now imagined as a woman, married to a Duke, While the queer relationship between Innogen and Posthumus doesn’t really add anything to the plot, it gives us a glimpse of a society in which same-sex desire is viewed as normal as heterosexual desire.
Gabrielle Brooks is excellent as Innogen, particularly in the second half when she can lean into the broad comedy that occurs outside the royal palace. Here, Brooks gives Innogen an effervescence that is hard to resist. Nadi Kemp-Sayfi has the more difficult role as Posthumous, who, when she’s deceived about her wife’s fidelity, orders her execution. Posthumous remains a problematic character.
Much of the humour stems from the characters whose gender hasn’t been swapped. Jordan Mifsúd is an odious Cloten, a third-rate whiny thug, bad at dancing and worse at singing. Cloten is so slimy that it’s a pity that he gets killed off so early. Iachimo is more astute in his cunning, looking very fetching in his red boiler suit as he tries to woo Innogen with lies. Pierro Niel-Mee delivers his lines so naturally that it’s easy for Innogen to question her wife’s reputation back in Italy. However, Niel-Mee’s guile is so convincing that it’s difficult to believe in his plea for forgiveness at the end of the play.
The cast is strong – and Martina Laird gives Cymbeline a dignified air – but it’s the actors in the minor roles who really shine. Aaron Anthony and Saroja-Lily Ratnavel are hilarious as Innogen’s secret, artless siblings while their protector, Belaria, is wonderfully played by Madeline Appiah, who has perfect comic timing. When Innogen meets the trio in the mountains, this Cymbeline comes into its own, and the siblings’ relationship is more interesting than the fractious romance between Innogen and Posthumus.
Music comes from the trio of musicians up in the gallery. They make sounds from splashing water in bowls or by striking glass jars that hang above them. At other times, they sing while slapping their throats, heads craned back, in echoes of mourning or rallies to war. The eerie resonances, while atmospheric, are sometimes at odds with the broad comedy playing below them. However, they remind us of the horrors of war and the aches of separation. Innogen’s funeral dirge is unbelievably tender. We can only hope the three musicians return to provide the soundtrack to a sadder play than this.
Running at three hours on press night, there is a sense that parts could be edited, especially the long reunion scene at the end, but all the mawkishness of returned lovers and rediscovered children is played for laughs. If only all the smiles and hugs of forgiveness could enter our world.
Runs until 20 April 2025
The Reviews Hub Score
Fun and forgiveness
