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KCST’s Cymbeline: A Round of Applause


Great revelrie was had at this Shakespearean tragedie!!!

This weekend KCST put on made their audience chase after Shakespeare’s Cymbeline and Madysen Luebke was there to watch run with the show. 

Between Havemeyer and Hartley on three very cold spring evenings, KCST’s spring production of Cymbeline brought humor and laughter to a campus preparing for finals.  The little known Shakespearean tragedy—albeit a very humorous one—was an overall success despite its anonymity.  Director Elizabeth Power managed to bring a cast of over sixty people together in a way that helped the audience to understand Cymbeline’s many plot lines.  Power also managed to navigate the various settings of the play seamlessly.  The Low steps were fitting for the royal palace, the magnolia tree in front of Math made for a picturesque cave, and Alma suited Italy perfectly.  Power’s use of space was not only well suited to the story, but also allowed for the audience to place the scenes instantly.

The setting, however, would be nothing if it were not for the well-coordinated ensemble work.  Every main character had a following of three to four people whose purpose was to react outrageously to every word.  For any other play this may have been too over the top or cheesy, but for Cymbeline, the reactions were merited.  As a whole the small groups worked well together and it was clear that they were a unit.  The final scene was evidence enough of this, as each group had their own coordinated reactions to every surprise that was revealed.  In some cases, however, the costuming could have been more reflective of their positions.  Some of the queen’s ladies looked as though they could have been mountaineers.  As a whole the costuming could have been more consistent, but that being said it did not detract from the experience.

For a show performed outside, it was surprisingly easy to hear the actors.  For Ione Wang’s portrayal of Imogen, the fact that she needed to practically yell to be heard added to her characterization, in an overall good way.  Imogen is one of Shakespeare’s feistier heroines, and Wang did her justice.  It was the scene between Imogen (Wang) and Cloten (Taha Wiheba) that showed just how spunky Imogen really is. In fact, any scene that included Imogen was stolen by her energy.  Another notable performance comes from David Gassett as Iachimo.  Iachimo is a slimy villain, yet Gassett made sure that we still loved him in the end.  Unlike some of the other actors who seemed hesitant to acknowledge the vulgarity of Cymbeline, Gassett was not afraid to use every word to his advantage.  As a result, his jokes were some few that the audience truly understood.

The other main roles of Cloten, Belarius (David Froomkin), The Queen (Tessa Slovis), and Posthumus (James Rodrigues) were also well performed.  Cloten and the Queen were comedic hits.  The audience laughed at Wiheba’s dim-witted portrayal of Cloten and embraced the dry sarcasm of Slovis’s Queen.   Belarius and Posthumus were less dymanic characters, however, as they were the more dramatic characters in the play.  Froomkin’s Belarius managed to deliver lines in a way that would incite laughter, but unfortunately the character of Posthumus was meant to be head over heels in love, not funny. What would have really made the audience fall in love with Posthumus would have been to see greater affection between Posthumus and Imogen.  In the final scene, the two characters are reunited after having thought the other dead, and yet a friendly hug was all the two exchanged. Nonetheless Rodrigues gave Posthumus innocence and naiveté to make the audience cheer him on.

While the main characters were well played, the show owes much of its success to the smaller roles such as Caius Lucius (Alex Dabertin), and The Frenchman (David Silberthau).  These two did not have many lines to say, but that did not stop them from stealing the show.  While exposition was happening around them, they were not afraid to draw the eyes of the audience.  Caius Lucius spent the entirety of the final scene on his knees tied up, but “get on with it already” was written all over his face, humorously not reacting to the ensuing family reunion.  And when King Cymbeline announced that England would pay tribute after all, Dabertin’s smile did not falter.  Similarly, when Silberthau was not delivering lines in a brilliant drunken French accent, he was perusing the ladies of the room, offering them wine.  Drama might have been brewing between Iachimo and Posthumus, but the Frenchman was happy just to try and get with the ladies.

The entire cast and crew of Cymbeline really deserves a round of applause for not only having the guts to perform such an intricate play, but also for doing so in a seamless manner.  The KCST’s performances were ambitious in taking on Cymbeline, to say the least, but the risk paid off greatly.

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  • What Everyone Said Ever... says:

    @What Everyone Said Ever... Liz Power is a goddess.

    1. anon says:


    2. Anonymous says:

      @Anonymous False. She is a flawed human being.

  • Please says:

    @Please this is too reserved and thoughtful! The whole experience was fun, silly, drunken, and utterly awesome.

  • Anonymous says:

    @Anonymous Lol nope

  • Anonymous says:

    @Anonymous It sounds like the director took the cast of Romeo and Juliet and gave them corresponding roles in Cymbeline. It has always seemed like there’s not much chance for outsiders in KCST….

    1. Anonymous says:

      @Anonymous it sounds like you don’t know the characters of either play very well…

      1. Anonymous says:

        @Anonymous The show seemed to have been cast based on level of attractiveness and nepotism rather than taking acting ability into account. Many of the actor/role combinations directly corresponded to their R&J counterparts. Juliet/Imogen, Lord Capulet/Cymbeline, Friar Lawrence/Pisanio…etc. The director could have tried to be a little less obvious and maybe a bit more creative and/or interesting…

    2. Anonymous says:

      @Anonymous *snaps*

  • CC 16 says:

    @CC 16 the show rocked.
    having seen both friday night at midnight and saturday at 8, i can say that a horde of drunk, rowdy college kids is a lot more fun than well-mannered parents

  • EP Fan says:

    @EP Fan Elizabeth Power is a goddess. No surprise that her show was a success.

    1. JJ10 says:

      @JJ10 I LOVE MY MOM

  • Anonymous says:

    @Anonymous The staging was an absolute mess. There was no reason to have the audience running back and forth across campus when the actors were clearly not even using the different locations to enhance the show. What was the point of moving from low to philosophy to fayerweather, only to return back to low? With scenes that short and a play so long, Elizabeth Power should have used the locations provides for longer, as well as made the path more clear.

    1. Waxima Perez says:

      @Waxima Perez Fatty fatty bum bum.

    2. Anonymous says:

      @Anonymous you’ve obviously never been to see the outdoor show before

      1. ImAShakesTrouper says:

        @ImAShakesTrouper Actually, I’ve been to multiple shows before, and that post was right. Most of the other KCST spring shows have followed a nice circular path around campus with the audience being able to follow along easily from one to the next.

        This year there was a ton of unnecessary backtracking and running from one side of campus to the other and back again pointlessly. There was minimal difference from one location to the next in regard to the staging of the show, so the order of locations was pointless.

        Not to mention the fact that the bells helped no one and sometimes created more confusion than help. Having bell ringers on both sides of a crowd ringing doesn’t help tell them where to go, it only creates confusion as to which one is in the location we needed to follow.

        1. Vigeland says:

          @Vigeland As I understand it, the construction work going on made this hard to do.

          1. Finn Vigeland says:

            @Finn Vigeland This isn’t me…

        2. cc13 says:

          @cc13 all the commencement stuff probably had to do with that too — all the bleachers and fences are up much earlier than theyve been in past years. they probably used a lot of the same lawns or steps because most of them are fenced off or have bleachers in front of them

        3. Sparce battlechip says:

          @Sparce battlechip Well I’ve been to every KCST show over the past 6 years and I can say that you’re both wrong to criticize the locations and staging. You failed to pick up on the subtle metaphor for Posthumus’s journey.

  • Anonymous says:

    @Anonymous lol@theater kids who have only each other to perform to.

  • gordon says:

    @gordon It was a lovely play. I especially like learning afterwards that the play is open to anyone that wants to act in it. At some point I want to make a sizable contribution to the company to enable all actors to visit stratford, to study Shakespeare.

    There were some problems though: there was a group, on my viewing the show, of varsity kids who simply wouldnt shut up. They kept talking during the entire show, and paid no mind that they were disturbing the rest of us. Perhaps the folks with the bells could have kept shushing them. That is certainly not my role as an audience member. These kids, entirely white, always talked over Ione Wang when she was speaking. Whats their problem. Perhaps I should go disrupt their stupid varsity show.

    There was also someone, right during the scene in front of dodge, where the audience was all huddled up together, the closest proximity to each other during the entire play, that they smoked pot and blew the smoke over everyone. What if we didnt want that second hand smoke?? Again, the folks with the bells should have gently policed such crap.

  • mozzarella stickler says:

    @mozzarella stickler Gerard Ramm (CC’13) in the title role gave one of the funniest and most touching performances I’ve seen on this campus in the final scene. “Does the world go round?!” Perfection.

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