Cymbeline, Sam Wanamaker Playhouse Review
Gabrielle Brooks as Innogen in Cymbeline at Shakespeare's Globe. Photo by Marc Brenner
Written by Danai for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Cymbeline was an exciting and refreshing choice by Shakespeare’s Globe, offering audiences the rare opportunity to experience one of Shakespeare’s less frequently performed works in the intimate setting of the Sam Wanamaker Playhouse. With chandeliers and candlelight creating an atmospheric and immersive space, the story unfolds in a setting that draws both actors and audience into close proximity, enhancing its emotional resonance.
While the narrative stays true to Shakespeare’s original text, Jennifer Tang’s adaptation introduces intriguing twists, primarily through the lens of gender. Set in a matriarchal society, this version reimagines Cymbeline (Marina Laid) as a queen, and Gaia as the revered goddess worshipped by all. This female-centred reinterpretation is steeped in rituals and gestures evoking an earthy, tribal, and sometimes primitive spirituality. Laura Moody’s musical direction masterfully complements this setting, with the polyphonic vocals, chants, and ethereal sounds from an all-female group of musicians adding an evocative layer to the storytelling.
Despite these creative elements, the purpose of the matriarchal framing remains somewhat unclear. Is it intended to highlight how patriarchal systems persist even in a society dominated by women? For instance, the Duke (Silas Carson) still seeks to overthrow the queen and install Cloten (Jordan Mifsúd) as the ruler. Or is the aim to show that even within a queendom, women struggle to fully escape the lingering shadows of patriarchy? While such interpretations seem plausible, the production doesn’t explicitly clarify its intentions, leaving the audience to speculate.
This gender-centric framing also brings a new dimension to the romance between Innogen (Gabrielle Brooks) and Posthumus (reimagined as a woman and portrayed by Nadi Kemp-Sayfi). Their love story feels natural and compelling within this world, which seemingly challenges heteronormative conventions. However, it remains ambiguous whether this version of Britain is entirely accepting of same-sex relationships or if their romance serves as a critique of societal norms.
The production leans into the comedic elements of the play without losing its tragic undertones, and the performances were undeniably strong across the cast. Pierro Niel-Mee’s portrayal of Iachimo stood out, skillfully oscillating between charm and menace. The bedroom scene, where Iachimo kisses Innogen without her consent, was particularly striking in its exploration of toxic masculinity as well as consent, highlighting the darker themes underpinning the play.
Despite Cymbeline’s inherent complexity, this adaptation succeeded in making the story accessible and engaging. The movement direction by Chi-San Howard and the exceptional music added layers of richness to the performance. However, the overarching themes of the production sometimes felt underexplored, as if the aim was simply to modernize the play rather than delve deeply into its underlying messages.
Nevertheless, this was an enjoyable and thought-provoking rendition of Cymbeline, providing a welcome chance to experience a lesser-known Shakespearean work. It offered a fresh perspective and succeeded in making a complicated play feel comprehensible and entertaining.
At Sam Wanamaker Playhouse until 20 April 2025
★★★
