The Fiasco Theatre’s
“Cymbeline”
“Are there more plots to yet unravel?”
So says King Cymbeline in the midst of one of Shakespeare’s most unruly denouements, the finale of Cymbeline, in which we learn of non-poisonous poisons, nefarious stepmothers, cross-dressed princesses, resurrected princes and princes-to-be, and—of course—the happy reuniting of lost lovers.
Actually, Cymbeline’s words aren’t The Bard’s at all. They are one of the savvy additions to the play by the terrific Fiasco Theatre, which presented its version of Shakespeare’s late romance at Marquette’s Helfaer Theatre, courtesy of Marquette and Alverno Presents.
Even though it’s had a number of significant productions in recent years, Cymbeline isn’t one of Shakespeare’s war horses. It’s a sprawling story with elements both tragic, comic and historical, crammed full with its era’s signature story elements—mistaken identities and fabricated events, doomed love and noble sacrifice. Not to mention the intervention of the gods.
At the hands of Fiasco co-directors Jessie Austrian and Noah Brody, Cymbeline becomes a propulsive story told with scrappy ingenuity. But one that is still filled with genuine human moments and gorgeously rendered poetry. Paring Shakespeare’s epic down to 15 characters—played by the company’s six actors—Fiasco’s production is a feast for both the imagination and the ear. A single steamer trunk (designed by Jacques Roy) stands in for almost all the set requirements, including an ingenious way to turn one of the live actors into a headless corpse onstage. Actors never leave the stage, instead retreating to a half circle of backstage chairs where they change simple costumes and sometimes provide music—guitar, cello, French horn, percussion—to underscore or change scenes.
With simple trappings, the success of the play falls heavily on the actors, and there is no disappointment here. The poetry here is lyrical but unaffected, just as American Shakespeare should be. Austrian, in particular, brings a blend of defiance and passion to her roller coaster of a story. And the entire company binds moments of wit and touching emotion in their various escapades.
Best of all, the company approaches the play as a ripping yarn, without a hint of snark or irony until the very last moments, when the plot mechanics do grow a bit wearying. They believe in the story, so we believe in them.
With theater project growing evermore gargantuan in concept—competing with the computer generated imaginations of superhero stories of James Cameron—Fiasco is a refreshing reminder that intelligence and creativity can trump big-budget overkill every time.
