Review: Postmodern magic at play in SOTS’s Cymbeline

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The show takes advantage of its new\u002Dfound freedoms as much as possible. It’s a joy to be present for the company’s full return.

After the princess Imogen’s beloved Posthumus has been banished, his bet with the scoundrel Iachimo over her chastity kicks off the series of misunderstandings that propels the action.

The performers don their characters and the play proper begins, granting the objects strewn around stage new meaning and presence. That makes the tension between the spur-of-the-moment design, and the clear care and effort by the performers into making it appear that way, even more fitting.Advertisement 3Bob Wicks and Tim Bratton must be singled out for their use of that transformative magic, shifting through characters across the show and even onstage while scenes are taking place.

For all of the show’s energy, it must unfortunately be noted that it comes to a bit of a halt at the end, as all of the plots are tied up succinctly via exposition.

 

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Review: Postmodern magic at play in SOTS’s CymbelineThe show takes advantage of its new\u002Dfound freedoms as much as possible. It’s a joy to be present for the company’s full return.
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