Interludes

THE HANGOVER REPORT – NAATCO’s modern verse version of CYMBELINE puts a feminist spin on the Bard’s rarely performed romance

• By drediman
• February 13, 2025
• No Comments

Over at the Lynn F. Angelson Theater (many will recognize the venue as Classic Stage Company’s home base), you’ll find the National Asian American Theatre Company (known simply as “NAATCO” to most theatergoers) and Play On Shakespeare’s Off-Broadway production of Shakespeare’s Cymbeline just about to complete its limited run. Originally commissioned by the Oregon Shakespeare Festival, the production distinguishes itself by utilizing a modern verse translation by Andrea Thome and featuring an all “femme” Asian American cast.

My main query about the production on the whole is whether there’s a need for this kind of modern verse translation in the first place. Make no mistake, Thome’s work is workmanlike and often inspired, but it tracks awfully close in spirit to Shakespeare’s original text. Even more so than your typical Shakespeare play, Cymbeline — with its numerous sensationalist twists and turns — is a wild ride. In some ways, it’s as if the Bard was testing his audiences’ credulity with the work. Indeed, the eventful and overstuffed tale defies easy categorization and is often put in the catch-all “romance” bucket. Thankfully, much of director Stephen Brown-Fried’s scrappy staging moves things along at a good clip (kudos to Mariko Ohigashi’s efficient yet evocative costume design, which allows for quick costume changes), mostly successfully distracting us from the play’s not insignificant length and frequently laughable implausibilities. That being said, the play loses steam late in the second act, which neither the staging nor the actors can prevent. Nevertheless, it’s all tied up in a satisfying if overly fussy closing scene.

This production of Cymbeline boasts a collection of some of our very finest femme Asian American actors, starting with the commanding if slightly befuddled Amy Hill in the title role. Also worth mentioning is Jeena Yi’s hilariously scene-stealing performance as the ridiculously boastful prince Cloten. But perhaps the finest performances come from Maria-Christina Oliveras, who magnetic gravitas as both the villainous queen and Belarius — a retired woodsman turned loyal warrior — as well as the very capable Jennifer Lim in the meaty central role of Imogen. The quality extends to the rest of the committed ensemble, each of whom project a clear sense of character, often with an appealing lightheartedness. Collectively, they put a winking feminist spin on a play that is largely fueled by brawn.

RECOMMENDED

CYMBELINE
Off-Broadway, Play
National Asian American Theatre Company (NAATCO) and Play On Shakespeare
2 hours, 50 minutes (with one intermission)
Through February 15