Midsommer Flight Presents CYMBELINE Review

In an outdoors garden, trees in full bloom fully surround a stone-like, large circle which will serve as the makeshift stage for this production. There is hardly any set or props, except for a couple of benches and the swords that the actors bring in. Something feels authentic in this set-up and in allowing the audience to experience this story outside, as they would have in Shakespeare’s time. Soon enough, the actors run down the aisles among the audience onto the stage, and the ensemble begins playing their instruments. A small orchestra of strings plays as the exposition of the play is acted out simply through movement, no words spoken, and yet every single beat is understood. After his daughter Imogen decides to marry Posthumus, a man much below her rank, the King Cymbeline decides to exile her husband. The two lovers embrace before being separated by the forceful king, and Posthumus departs as his wife weeps. This isn’t the King’s first rodeo when it comes to exiling. Years prior, he had also exiled an old enemy, who then sought revenge by kidnapping the King’s two sons, whom he has not seen since.

Under this premise, the plot ensues. We are introduced to an interesting cast of characters, including an eccentric Queen (played by Talia Langman) and her equally flashy son, Cloten (John Drea), who both seek to overthrow the stubborn Cymbeline (Barry Irving). We are also introduced to the play’s hero, the strong-willed Imogen, played fiercely by Ashley Graham, and to her witty servant, Pisanio (Bradley Halverson). It becomes clear that Cloten, too, is after Imogen’s heart, and that the Queen is manipulating the King into not paying tribute to Rome. Meanwhile in exile, the good-hearted Posthumus (Keenan Odenkirk) meets Iachimo (Shane Rhoades), who wagers with him that he can corrupt Imogen’s honor by seducing her.
Of course, due to a never-ending amount of lies and deceit, nothing goes as planned until the near-end of this epic play.

Midsommer Flight’s Cymbeline is a Shakespearean Classic with All the Author’s Favorite Tricks

This play offers its audience all of Shakespeare’s favorite ploys: from bets and lies and forbidden love, to gender-swaps and long-lost children, to a historical backdrop that erupts into an epic battle. Despite the play’s complexity, this production leans into simplicity and gives its audience an accessible version of the classic, in this reviewer’s opinion. There are significant cuts to the script and the dynamics between characters are understood not just through word but through movement and staging. This same physicality conveys much of the comedy. For instance, one of the play’s most hilarious scenes, in this writer’s opinion, is set in Imogen’s room as she sleeps. Iachimo jumps out of a chest and carefully tries to steal Imogen’s jewelry as proof they slept together. He approaches and retreats as she breathes. Shortly after, Cloten bursts into the room with a band, and wakes her up with a hilariously out-of-tune serenade full of half-hearted compliments.

Like any true Shakespearean comedy, all the plots are tied and intertwined by the end through means of synchronicity, and each character gets the fate that they deserve. Lessons are learnt, couples reunited, and sins are either forgiven or avenged (a headless man may or may not be part of this ending). We have no choice but to root for the reunion of the lovers.
By the end, we are left with a feeling of utter satisfaction as all the unbelievably complex strings that make up this tale and tied up into a neat bow.

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CAST:

Barry Irving (he/ him): King Cymbeline
Ashley Graham (she/ her): Imogen
Talia Langman (she/ her): Queen
John Drea (he/ him): Cloten
Keenan Odenkirk (he/ him): Posthumus
Shane Rhoades (he/ him): Iachimo
Bradley Halverson (they/ them): Pisanio
Jessica Goforth (she/ her): Belarius/ Frenchman
Juliet Kang Huneke (she/ her): Arviragus/ Ensemble
Jillian Leff (she/ her): Gentleman 1/ Lord/ Cornelius/ Roman Soldier
Chris Lysy (he/ him): Caius Lucius/ Philario
Andi Muriel (she/ they): Gentleman 2/ Lord/ Messenger/ Brit Captain/ Gaoler
Aloha Rasmussen (she/ her): Guiderius/ Ensemble
Alexandra Jaymes (she/ her): Understudy
Chris Jensen (he/ him): Understudy
Samie Jo Johnson (she/ they): Understudy
Connor O. Locklin (he/ him): Understudy
Dina Perez (she/ her): Understudy

CREATIVE TEAM:

Beth Wolf (she/ her): Director
Christina Casano (she/ her): Assistant Director
Jeremiah Barr (he/ him): Scenic/ Props Designer
Rachel M. Sypniewski (she/ her): Costume Designer
Jack Morsovillo (he/ him): Music Director/ Composer
Hazel Marie Flowers-McCabe (she/ her): Stage Manager
Miguel Salgado Jr: Assistant Stage Manager
Addoris Davis: Production Manager
Meredith Ernst (she/ her): Text Coach
Maureen Yasko (she/ her): Intimacy Director/ Associate Fight Director
Chris Smith (he/ him): Fight Director/ Associate Intimacy Director
Amy Malcom (she/ her): Resident Vocal Coach
Karissa Murrel Myers (she/ her): Casting Director

About the Author: Madalena Martins

Madalena is a young writer and actress based in Chicago. She was born and raised in Lisbon (Portugal- the home of soccer and custard tarts) then moved to Mostar (Bosnia and Herzegovina), and finally made it to the United States! Her international background resulted in a deep love for languages, cultures, travelling, and food. She is also a lover of theatre, cinema, music, and literature. In her free time, she enjoys writing, going to the beach, doing improv comedy and sketches with friends, talking to strangers, and suffocating her dog with love.

Besides this, she is interested in climate activism, feminism, and queer studies, and is interested in the intersections between these fields.

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