The Caroline production was noted as being "well likte by the kinge." In 1728 John Rich staged the play with his company at Lincoln's Inn Fields, with emphasis placed on the spectacle of the production rather than the text of the play.
Theophilus Cibber revived Shakespeare's text in 1744 with a performance at the Haymarket.
There is evidence that Cibber put on another performance in 1746, and another in 1758. In 1761, David Garrick edited a new version of the text.
There is evidence that Cibber put on another performance in 1746, and another in 1758. In 1761, David Garrick edited a new version of the text.
Some details of this alteration survived in productions at least until the middle of the century. William Hawkins revised the play again in 1759.
There is evidence that Cibber put on another performance in 1746, and another in 1758. In 1761, David Garrick edited a new version of the text.
Garrick's version of Cymbeline would prove popular; it was staged a number of times over the next few decades. In the late eighteenth century, Cymbeline was performed in Jamaica. The play entered the Romantic era with John Philip Kemble's company in 1801.
In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus. William Charles Macready mounted the play several times between 1837 and 1842.
In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus. William Charles Macready mounted the play several times between 1837 and 1842.
In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus. William Charles Macready mounted the play several times between 1837 and 1842.
At the Theatre Royal, Marylebone, an epicene production was staged with Mary Warner, Fanny Vining, Anna Cora Mowatt, and Edward Loomis Davenport. In 1859, Cymbeline was first performed in Sri Lanka.
In the late nineteenth century, the play was produced several times in India. In 1864, as part of the celebrations of Shakespeare's birth, Samuel Phelps performed the title role at Theatre Royal, Drury Lane.
Helena Faucit returned to the stage for this performance. The play was also one of Ellen Terry's last performances with Henry Irving at the Lyceum in 1896.
His version eliminates the brothers altogether as part of a notable enhancement of Posthumus' role in the play. George Bernard Shaw, who criticised the play perhaps more harshly than he did any of Shakespeare's other works, took aim at what he saw as the defects of the final act in his 1937 Cymbeline Refinished; as early as 1896, he had complained about the absurdities of the play to Ellen Terry, then preparing to act Imogen.
The set design, overseen by Lawrence Alma-Tadema, was lavish and advertised as historically accurate, though the reviewer for the time complained of such anachronisms as gold crowns and printed books as props. Similarly lavish but less successful was Margaret Mather's production in New York in 1897.
Henderson directed the first screen adaptation of Cymbeline in 1913.
The sets and publicity cost $40,000, but Mather was judged too emotional and undisciplined to succeed in a fairly cerebral role. Barry Jackson staged a modern dress production for the Birmingham Rep in 1923, two years before his influential modern dress Hamlet.
Accordingly, in Cymbeline Refinished he rewrote the last act, cutting many of the numerous revelations and expositions, while also making Imogen a much more assertive figure in line with his feminist views. There have been a number of radio adaptations of Cymbeline between the 1930s and the 2000s.
Iachimo was played by Geoffrey Keen, whose father Malcolm had played Iachimo with Ashcroft at the Old Vic in 1932. Hall's approach attempted to unify the play's diversity by means of a fairy-tale topos.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
His version eliminates the brothers altogether as part of a notable enhancement of Posthumus' role in the play. George Bernard Shaw, who criticised the play perhaps more harshly than he did any of Shakespeare's other works, took aim at what he saw as the defects of the final act in his 1937 Cymbeline Refinished; as early as 1896, he had complained about the absurdities of the play to Ellen Terry, then preparing to act Imogen.
The film was produced by the Thanhouser Company and starred Florence La Badie as Imogen, James Cruze as Posthumus, William Garwood as Iachimo, William Russell as Cymbeline, and Jean Darnell as the Queen. In 1937 the BBC broadcast several scenes of André van Gyseghem's production of the play, which opened 16 November the same year, on television.
NBC broadcast a production of the play in the United States in 1938.
Walter Nugent Monck brought his Maddermarket Theatre production to Stratford in 1946, inaugurating the post-war tradition of the play. London saw two productions in the 1956 season.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
In October 1951 the BBC aired a production of George Bernard Shaw's Cymbeline Refinished, as well as Shaw's foreword to the play. === Screen adaptations === Lucius J.
Walter Nugent Monck brought his Maddermarket Theatre production to Stratford in 1946, inaugurating the post-war tradition of the play. London saw two productions in the 1956 season.
In 1956 the BBC produced a similar television program, this time airing scenes from Michael Benthall's theatrical production, which opened 11 September 1956.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
The next major Royal Shakespeare Company production, in 1962, went in the opposite direction.
In 1987, Bill Alexander directed the play in The Other Place (later transferring to the Pit in London's Barbican Centre) with Harriet Walter playing Imogen, David Bradley as Cymbeline and Nicholas Farrell as Posthumus. At the Stratford Festival, the play was directed in 1970 by Jean Gascon and in 1987 by Robin Phillips.
Patrick Allen was Posthumus, and Tom Fleming played the title role. A decade later, John Barton's 1974 production for the RSC (with assistance from Clifford Williams) featured Sebastian Shaw in the title role, Tim Pigott-Smith as Posthumus, Ian Richardson as Iachimo, and Susan Fleetwood as Imogen.
Robert Speaight disliked the set design, which he called too minimal, but he approved the acting. In 1980, David Jones revived the play for the RSC; the production was in general a disappointment, although Judi Dench as Imogen received reviews that rivalled Ashcroft's.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
In 1987, Bill Alexander directed the play in The Other Place (later transferring to the Pit in London's Barbican Centre) with Harriet Walter playing Imogen, David Bradley as Cymbeline and Nicholas Farrell as Posthumus. At the Stratford Festival, the play was directed in 1970 by Jean Gascon and in 1987 by Robin Phillips.
The production was set in the souks of Dubai and the Bollywood film industry during the 1990s communal riots and received acclaim from reviewers and academics alike. Also in 2013, a folk musical adaptation of Cymbeline was performed at the First Folio Theatre in Oak Brook, Illinois.
A large medieval tapestry unified the fairly simple stage design and underscored Latham's fairy-tale inspired direction. In 1994, Ajay Chowdhury directed an Anglo-Indian production of Cymbeline at the Rented Space Theatre Company.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
The cast wore identical costumes even when in disguise, allowing for particular comic effects related to doubling (as when Cloten attempts to disguise himself as Posthumus.) There have been some well-received theatrical productions including the Public Theater's 1998 production in New York City, directed by Andrei Șerban.
Accordingly, in Cymbeline Refinished he rewrote the last act, cutting many of the numerous revelations and expositions, while also making Imogen a much more assertive figure in line with his feminist views. There have been a number of radio adaptations of Cymbeline between the 1930s and the 2000s.
Richard Johnson, Claire Bloom, Helen Mirren, and Robert Lindsay play Cymbeline, his Queen, Imogen, and Iachimo, respectively, with Michael Pennington as Posthumus. In 2014, Ethan Hawke and director Michael Almereyda, who previously collaborated on the 2000 film Hamlet, re-teamed for the film Cymbeline, in which Hawke plays Iachimo.
Set in India under British rule, the play features Iachimo, played by Rohan Kenworthy, as a British soldier and Imogen, played by Uzma Hameed, as an Indian princess. At the new Globe Theatre in 2001, a cast of six (including Abigail Thaw, Mark Rylance, and Richard Hope) used extensive doubling for the play.
The play was again at Stratford in 2004, directed by David Latham.
The play was included in the 2013 repertory season of the Oregon Shakespeare Festival. In 2004 and 2014, the Hudson Shakespeare Company of New Jersey produced two distinct versions of the play.
The 2004 production, directed by Jon Ciccarelli, embraced the fairy tale aspect of the story and produced a colourful version with wicked step-mothers, feisty princesses and a campy Iachimo.
The BBC broadcast productions of Cymbeline in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006.
Cymbeline was also performed at the Cambridge Arts Theatre in October 2007 in a production directed by Sir Trevor Nunn, and in November 2007 at the Chicago Shakespeare Theatre.
The play was included in the 2013 repertory season of the Oregon Shakespeare Festival. In 2004 and 2014, the Hudson Shakespeare Company of New Jersey produced two distinct versions of the play.
Critic Matt Truman gave the production four out of five stars, saying "The world's youngest nation seems delighted to be here and, played with this much heart, even Shakespeare's most rambling romance becomes irresistible." In 2013, Samir Bhamra directed the play for Phizzical Productions with six actors playing multiple parts for a UK national tour.
The production was set in the souks of Dubai and the Bollywood film industry during the 1990s communal riots and received acclaim from reviewers and academics alike. Also in 2013, a folk musical adaptation of Cymbeline was performed at the First Folio Theatre in Oak Brook, Illinois.
The play was included in the 2013 repertory season of the Oregon Shakespeare Festival. In 2004 and 2014, the Hudson Shakespeare Company of New Jersey produced two distinct versions of the play.
The 2014 version, directed by Rachel Alt, went in a completely opposite direction and placed the action on ranch in the American Old West.
Richard Johnson, Claire Bloom, Helen Mirren, and Robert Lindsay play Cymbeline, his Queen, Imogen, and Iachimo, respectively, with Michael Pennington as Posthumus. In 2014, Ethan Hawke and director Michael Almereyda, who previously collaborated on the 2000 film Hamlet, re-teamed for the film Cymbeline, in which Hawke plays Iachimo.
The play was performed outdoors and was accompanied by traditional Appalachian folk songs. In 2015, at Shakespeare's Globe in the Sam Wanamaker Playhouse, a production was directed by Sam Yates where the role of Innogen was played by Emily Barber and Jonjo O'Neill as Posthumus. In 2016, Melly Still directed Cymbeline at the Royal Shakespeare Company.
The play was performed outdoors and was accompanied by traditional Appalachian folk songs. In 2015, at Shakespeare's Globe in the Sam Wanamaker Playhouse, a production was directed by Sam Yates where the role of Innogen was played by Emily Barber and Jonjo O'Neill as Posthumus. In 2016, Melly Still directed Cymbeline at the Royal Shakespeare Company.
This version of the play was performed at the Royal Shakespeare Theatre before moving to the Barbican in late 2016.
PRINCETON; OXFORD: Princeton University Press, 2019.
All text is taken from Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License .
Page generated on 2021-08-05