While one can appreciate directorial imagination in staging Shakespeare, Melly Still overdoes it in her 2016 Royal Shakespeare Company production at Stratford-upon-Avon of one of the Bard's more problematic efforts: Cymbeline, which juggles elements of history, tragedy, romance, and comedy while also adding to the mix hints of past plays (Hamlet, King Lear, Othello, and Romeo and Juliet). The director increases the complexity by turning the conflict between the ancient Britons and the Roman Empire into a reflection of the divisions in Brexit-torn Europe, situating the action—judging by the look of the costumes—in some sort of post-apocalyptic future. She also changes the gender of characters, including the titular king, now Queen Cymbeline (Gillian Bevan) and the monarch's spouse, now a duke (James Clyde), and one of Cymbeline's lost sons here becomes a fierce daughter (Natalie Simpson). The romantic triangle of Cymbeline's other daughter Innogen (Bethan Cullinane), her Roman husband (Hiran Abeysekera), and his underhanded friend (Oliver Johnstone) remains intact. The text, however, does not: not only are gender terms naturally altered, but while most of the dialogue remains English, some is translated into Latin, Italian, and French, with the original lines projected onto walls. Also added are modern music and vigorous ensemble dances. Some of the performances are quite good, and the multiple resolutions at the close retain their dramatic power, but one doubts this Cymbeline will wear well, particularly since the provincial Brexit references are bound to date it. Extras include audio commentary by and an interview with Still, the featurette "Shakespeare's Ancient Britain," and a cast gallery. A strong optional purchase. Aud: H, C, P. (F. Swietek)
Cymbeline
(2016) 188 min. DVD: $24.99, Blu-ray: $42.99. Opus Arte (dist. by Naxos of America). Volume 33, Issue 2
Cymbeline
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