Shakespeare’s ‘Cymbeline’ Leans on Comedy at APT

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Photo via American Players Theatre

Ask a typical theatergoer to name one of Shakespeare’s plays, and one could expect to hear Hamlet, Macbeth, Romeo and Juliet or King Lear. There’s a slimmer chance of hearing plays such as Othello or Twelfth Night.

However, one would certainly be dumbfounded to hear anyone mention Cymbeline, one of the mid-season offerings from American Players Theatre in Spring Green, Wis.

There are many reasons that Cymbeline is often overlooked, and rarely performed. For one thing, it doesn’t fit neatly into a particular category, since it isn’t specifically designed as a comedy, tragedy or history. In fact, it contains elements of all three.

One of the main reasons for staging Cymbeline is that it offers wonderful parts for actors. There is Princess Imogen, who is among Shakespeare’s strongest women. There’s also Posthumus, a commoner and therefore not considered a suitable mate for Imogen (they wed in secret anyway). And there’s the villainous Iachimo (more on him later), not to mention the evil Queen (ditto).

Once the union between Imogen and Posthumus is revealed, Posthumus is banished by King Cymbeline to a far-off land. While there, he comes in contact with a boasting, rakish fellow (Iachimo). The cad claims that he can seduce Imogen while conducting state business in her kingdom. At first, the loyal Posthumus scoffs at this notion. But male jealousy quickly changes Posthumus’ mind, and the bet is on.

Riveted as Events Unfold

In this adaptation by Henry Woronicz, the cast and plot have been trimmed to their essentials (although the show still runs two hours, 45 minutes). The play’s political aspects have been minimized, in order to give more attention to the relationships between characters. This decision guarantees to keep audiences riveted as events unfold.

On her part, director Marti Lyons decides to turn Elizabethan-era Shakespeare on its ear. Instead of casting the entire show with male actors, as was done in Shakespeare’s time, this talented cast of eight features all women.

But fear not. Most of these “male” characters stride, bellow and scratch themselves with enough arrogance to make them convincing. The “gentlemen” also dress appropriately, wearing either swashbuckling gear or, in the case of King Cymbeline, a soft, flowing robe (costumes by Raquel Adorno).

Audiences should enjoy this gender-swap, which gives them a chance to see some of American Players Theatre’s best female actors in substantial roles. One APT stalwart, Colleen Madden, takes on two leading male roles. She is initially seen as the devoted Posthumus, our hero and Imogen’s husband. Switching gears, she then becomes the idiotic, childish Cloten. Although Madden’s male characters are similar in age, size and appearance, they are identified by wearing different cloaks. Cloten also wears a pencil-thin moustache (which can easily be wiped off for quick changes).

Cloak and Dagger

The doltish Cloten could easily be written off as a suitor for Imogen’s hand, were it not for the fact that he is the Queen’s son from a previous marriage. The revelation of Imogen’s marriage does not dissuade the Queen. In fact, she orders a deadly potion from her court doctor in order to possibly eliminate Imogen from the marriage equation. With Imogen out of the way, it would allow her son to rule one day as king.

The cloak-and-dagger scenes in Cymbeline are quickly replaced by hilarious ones, featuring the clueless Cloten. He fancies himself both a warrior and a ladies’ man—roles that exist in his mind only. Madden rightly earns some of the play’s biggest laughs in her portrayal of the bumbling Cloten. Madden’s portrayal makes it crystal clear why Princess Imogen (Melisa Pereya) prefers the gallant Posthumus.  

Madden’s Jekyll-and-Hyde performance isn’t the only highlight in this gender-bending Cymbeline.  At one point, Imogen must disguise herself as a boy to save her life. After a bruising day of hard work for her master, Imogen gives a speech in which she wonders if it isn’t easier to be a woman after all. So much for unintended irony.

Many key plot points are determined by the ever-present Pisanio, Posthumus’ aide. As Pisanio, Elizabeth Ledo makes credible her character’s bold decision to go against his master’s wishes. Yet Pisanio is also wise enough not to cross the insufferable Cloten. Pisanio knows how to say all the deferential things Cloten wants to hear, while also rolling his eyes at Cloten’s behavior. Ledo succeeds in making Pisanio more of a multi-dimensional character.

Outstanding Cast

Tracy Michelle Arnold (as Iachimo) stands out as the most convincing of the “male” characters. In tone, gesture and form, Arnold embraces her character’s slithery persona. Another APT mainstay, Sarah Day, displays the proper regal bearing as King Cymbeline. However, it is the wily Queen (Gina Daniels) who draws every eye in her scenes. The Queen’s elaborate, fur-trimmed costume and golden headpiece further draw attention to her.

As Imogen, Melisa Pereya first appears as an innocent young girl in love.  However, when she’s later faced by Iachimo’s advances, her temper flares. She leaves no doubt that she will never be charmed by Iachimo – or any man other than her husband. It is why Iachimo must switch tactics so quickly, in order to (dishonestly) win the wager with Posthumus. (In this respect, one finds strong parallels between Cymbeline and Shakespeare’s Othello, or The Winter’s Tale.) 

Plenty of other plot twists and turns unfold before all is righted in the finale. Aside from themes of innocence and jealousy, there is also a strong message of forgiveness. Even the disgraced Iachimo earns a pardon at the play’s end. Rounding out the cast are Alys Dickerson and Lisa Tejero, who are both featured in several roles.

In such a fantastical tale as Cymbeline, the hillside outdoor theater provides an exceptional environment. Soft lighting filters onstage and through the nearby trees, giving an otherworldly feeling to the production (lighting by Jason Lynch). In a simple background that seems to have been borrowed from a child’s book, set designer Takeshi Kata constructs a series of shifting panels that can be opened and closed (mostly to whisk props on or off the set).

There are many reasons to see Cymbeline at APT this summer, not the least of which is to enjoy a play with fine characters and Shakespeare’s beautiful poetry. It is a credit to APT for launching such a project during a pandemic, when other, more well-known Shakespeare plays would certainly draw even larger crowds.

Cymbeline runs through Sept. 11 at American Players Theatre, 5950 Golf Course Road, Spring Green. For tickets and info, visit americanplayers.org.