CYMBELINE
Barbican Theatre, London EC2
Opened 29 May, 2007
***
Nick Ormerod seldom designs sets as usually understood: backdrops,
rostra, furniture of a kind that identifies an environment. Rather, he
economically defines and characterises the stage space without pinning
matters down. A set of drapes augmented occasionally by a chair or two,
some animal skins or sylvan lighting, and the otherwise almost
shockingly bare Barbican stage can be a palace, mountaintop, forest,
cave or battlefield with the swiftness of imagination, leaving the
space free for the actors to work untrammelled.
The other half of the Cheek By Jowl team, director Declan Donnellan,
specialises in spatial relationships. He may have characters play a
duologue separated by half the stage to show their emotional distance,
or observed by other characters not literally present to suggest
interrelationships and overshadowings. At the beginning of the second
half, the disguised princess Imogen tramps repeatedly around the stage
perimeter, looking at first like a latecomer back from the interval,
while scenes are played out in the palace from which she is exiled. It
occurs even in the casting: Gwendoline Christie as the manipulative
Queen towers a full head above David Collings' Cymbeline, dominating
him physically as well as psychologically.
This gives great interpretative clarity to texts, but can grow
counter-productive as regards the narrative or emotional heft which
engages an audience. "Show, don't tell" is a fundamental maxim, but it
can backfire when we feel we're being not so much shown as
demonstrated. It does not help that this late Shakespeare drama (palace
jealousy, exile, disguise, ultimate reunion of father and daughter...
you know the generic drill) is heavy on soliloquy: characters spend so
much time explaining matters to us that Donnellan's deliberate physical
patterning can become superfluous. There are some nice touches:
Imogen's failed and successful suitor alike, a non-musclebound Cloten
and an unhandsome, rather gawky Posthumus, are excellently doubled by
Tom Hiddleston, and the forest-dwelling princes may have been tutored
in nobility but can revert to atavism in a trice. And yes, this is at
root a play about intimacy thwarted and deferred... but such graphic
embodiment of it onstage can create a similar distance from the
audience, which in the increasingly fantastical late plays is
especially crippling.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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