Milwaukee’s Optimist Theater is best-known for producing its annual Shakespeare in the Park series, which travels to various venues throughout the local community in July and August. Over the years, Optimist has produced many of Shakespeare’s most-beloved works, but for its tenth (and current) season, it has chosen Cymbeline. This rarely produced play is considered problematic for reasons not the least of which is where to put it in the Shakespearean canon. While not quite a tragedy, Cymbeline has comic elements, too. And there’s more than a little history involved in this tale of King Cymbeline. It’s actually the king who starts things off when he discovers the secret wedding of Princess Imogen to a commoner (Postumus). He chides his weeping daughter, Imogen, and banishes Postumus to a far-off land.
Before Postumus departs, the couple plot their escape. They exchange vows of love and share tokens to remind them of each other. Postumus soon departs for Britain. While there, he manages to annoy some peers with his talk about Imogen’s beauty and, more important, her fidelity. One member of the group, a loud, boastful Iachimo, proposes a wager. If he can prove that Imogen is false, he will win the prized ring that Imogen has given Postumus.
The wily Iachimo hits the road. He meets Imogen, and quickly surmises that her eyes are for no one besides Postumus. Iachimo then hides himself inside a trunk that is destined for Imogen’s bed chamber. He emerges from the trunk while Imogen sleeps.
While inside, Iachimo makes mental notes of the room’s decorations. To seal the deal, he carefully removes the bracelet on Imogen’s wrist, and even spies a mole upon Imogen’s breast.
Back in Britain, Iachimo wastes no time in telling Postumus what he has seen inside Imogen’s bedchamber. Postumus scoffs at Iachimo’s report, claiming that anyone could have told Iachimo such things. But when Iachimo produces the bracelet and mentions Imogen’s mole, it sends Postumus into a jealous rage.
One of the most surprising elements of this story is Postumus’s strong reaction to this news. He sends a letter to a relative in Cymbeline’s court, asking her to kill Imogen over this alleged betrayal. Pisanio is horrified at this request, and she hatches a plot to reveal Posthumus as a fool.
Although Cymbeline remains one of Shakespeare’s least-produced plays in modern times, it was actually one of his most popular plays in the 18th century. Perhaps it is due for a rebirth. In recent years, this reviewer has seen at least three productions of Cymbeline: the Oregon Shakespeare Festival in 2013, American Players Theater in Spring Green, Wis. in 2021, and the current Optimist version.
While all three productions were satisfying in their own way, the Optimist show is well-suited for its company’s mission. Optimist condenses all of its shows (Cymbeline runs 90 minutes). Casts are trimmed to only a few paid actors (Cymbeline has eight), and most actors assume multiple roles to fill gaps in the storyline.
Optimist audiences are free to congregate on blankets and folding chairs (which they must provide). No tickets are issued. Shows are free, although donations are welcome.
Seeing a Shakespeare play staged in a cemetery was a first-time experience for this reviewer. Nestled among tall stone monoliths dedicated to various famous families (with names like Pabst and Schlitz) is a small, grassy clearing. Prior to the performance I saw, a cemetery representative stepped forward to share, among other things, that the clearing where Cymbeline was to be performed is not populated with those in their final resting place. In other words, the actors aren’t emoting and dancing on any graves.
The casual nature of Optimist productions is evident in the simple portable set, consisting of various platforms in front of a colorful, Rennaisance-themed fabric backdrop (production design by Ron Fry). Actors change in and out of various outfits behind the backdrop, and there’s also a small tent that is not visible to the audience (costumes by Mel Benson).
Although sets and costumes are minimal, the sound design is rather complex (sound engineer is Tony Roman). The actors, who wear wireless mics, can easily be heard through loudspeakers placed in front of the crowd.
All the actors tackle their roles with gusto and finesse. The main couple is portrayed by Susie Duecker (as the lovely and demure Imogen) and Zach Thomas Woods (as Postumus). In their brief scenes together, Duecker and Woods manage to create a surprising amount of chemistry. Actor Michael Stebbins is commanding and eloquent at King Cymbeline, Imogen’s father, who has fallen under the spell of his new queen (Libby Amato).
Amato has the rare opportunity to play both the queen and, switching genders, as the villainous Iachimo. She excels in both personas. Adam Medina fills the thankless role of Cloten, the queen’s son, who is the dolt one expects of this character. Thankfully, Pisanio (Brielle Richmond) comes to Imogen’s rescue before any damage is done.
Happily, actor Ken T. Williams is frequently seen onstage in various guises. He initially sets the scene as the narrator, and then morphs into several other characters, including Belarius. His deadpan delivery (as the court physician) near the play’s end nearly steals the show.
A few more fun and unexpected additions to the play, include a hilarious hip-hop number (by Adam Media and Fabian Guerrero). Instrumental music accompanies almost the entire play, adding a nice dimension to Shakespeare’s text. It also must be noted that pre-show music is courtesy of flautist Katy Lane.
