Cymbeline

Reviewed by Terry Morgan
The Porters of Hellsgate Theatre Company
Through October 14

There’s a reason that Shakespeare’s Cymbeline doesn’t get produced very often. It’s not that it’s bad per se, but that it’s familiar without being extraordinary. The usual tropes of star-crossed lovers and women dressing up as men are here, but the contrivances simply seem more contrived — we’ve seen better variations on these riffs before. That said, there are a few strong performances in the new Porters of Hellsgate production, although uneven direction makes for a largely listless show.

Back in ancient Britain, King Cymbeline (Debba Rofheart) doesn’t think Posthumous (Will Block) is worthy of marrying his daughter, Imogen (Cameron Kauffman). He banishes the young man, but the Queen (Thomas Bigley), Imogen’s stepmother, assures Imogen that she’ll help fix the situation. Meanwhile the Queen really is plotting to get her thuggish son Cloten (Jesse James Thomas) married to the royal daughter, and if that won’t work, then poisoning her will suffice.  When Posthumous is given false information as to his love’s supposed faithlessness, Imogen’s situation becomes decidedly more difficult.

Kauffman gives a serious and passionate lead performance as the ill-starred Imogen, anchoring the play with skill. Block is fine as Posthumous, but his character’s motivations come off as somewhat tepid. As Cloten, Thomas adds a much-needed blast of comedic energy to the show, but he might benefit from a bit of volume modulation. Rofheart, regrettably, is bland in the title role, and Bigley as the Queen underplays what could be a funny character turn.

Alexandra Wright brings a sense of dramatic urgency to the noble servant Pisanio, and Jono Eiland is deliciously evil as the dissembling Italian Iachimo. Cindy Nguyen and Sydney Rose Walker are delightful as the rambunctious brothers Guiderius and Arviragus, with Nguyen especially good in a comical fight scene with Cloten (expertly choreographed by Thomas). Finally, Dawn Alden is appropriately gruff and concerned as the boys’ guardian, Belarius.

Director Charles Pasternak, who did such a great job helming Pericles last year, seems less inspired here. Performances are of variable quality, so the pacing and energy often lag. Pasternak does inject some anachronistic visual and aural vigor into the show, however, employing punk music in the background of one scene and an entire sequence done with strobe lights to the tune of The Prodigy’s “Smack My Bitch Up.” The Bard doesn’t help matters with a conclusion that includes approximately five different endings.

In conclusion, Cymbeline is a play best left to Shakespeare completists, and unfortunately this mixed-quality production is unlikely to create any new fans.

The Whitmore-Lindley Theatre, 11006 Magnolia Blvd., North Hollywood; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Oct. 14. www.portersofhellsgate.com. Running time: approximately two hours and 30 minutes, including one intermission.