Review: CYMBELINE at The People's Shakespeare Project

The People’s Shakespeare Project recently debuted one of the Bard’s lesser-known works, Cymbeline at West Art.  This was my first experience at this new Lancaster venue.  It is a re-purposed church (not unlike Susquehanna Stage), located across the street from the North Museum.  The small space holds a lot of promise, has good acoustics, and was well utilized by the production.  I am confident with some additional attention to details like sufficient parking and restrooms, this will evolve into a ideal location.

Although you may be unfamiliar with Cymbeline, chances are you already know a lot of the Shakespearean tropes within.  The show has beleaguered kings, women disguised as boys, sleeping potions, and diabolical henchmen. John Rohrkemper does a fine job as the title character, although, ironically, Shakespeare doesn’t give him a whole lot to do.  The show should more accurately be called Innogen since that is the name of the King’s daughter who continuously moves the plot forward.  Played earnestly by Caitlin Hughes, the actress turns in a natural performance which fits well for a show that is neither a traditional comedy nor tragedy.

Ian Wettlaufer stars as Innogen’s banished lover, Posthumus.  Wettlaufer effectively displays many emotions throughout the night including anger, jealous, passion, and relief.  He serves as a good match in tone and style for Hughes.

Cynthia Charles and Justin Hopkins play the villains of the piece, the mother/son duo of Queen and Cloten.  Both actors conveyed significant menace and cruelty in their portrayals, but sometimes, their choices veered too much into a "mustache-twirling” caricature approach.

I found the portrayal of Elliot Sterenfeld’s Iachimo to be more nuanced.  The scene is which he writhes all over the sleeping body of Innogen was simultaneously creepy and enthralling.

Other stand-outs include Curtis Proctor-Artz’s sympathetic, Pisano and Molly McKitterick’s eccentric Cornelia.

Director Jeremiah Miller, and assistant director Justin Hopkins do a great job of maximizing the entire performance space and making the show quite immersive.  Speaking of which, kudos to fight coordinator, Dan Burke who choreographed an intense full-cast battle during the second half of the show worth the price of admission, alone.

One additional note. Shakespeare sets the play in ancient Britain circa 10 AD.  The People’s Shakespeare Production featured mostly European garb of the 17th and 18th centuries including wigs, rouged cheeks, and ruffled collars.  Why?  I’m reminded of one of my favorite headlines from The Onion, “Unconventional Director Sets Shakespeare Play In Time, Place Shakespeare Intended”.

Cymbeline plays now through February 25th and is well worth a look at this unique and under-appreciated show.

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