BWW Reviews: Anon It Moves' CYMBELINE is a Futuristic Shakespearean Treat

Who says Shakespeare can't be a futuristic musical? No one! Anon It Moves' new feminist adaptation of Shakespeare's CYMBELINE is a compelling production of a rarely seen play.

So, you've never heard of CYMBELINE? Don't worry...you aren't alone (I hadn't either). CYMBELINE is one of Shakespeare's later plays, and it isn't produced often, which is too bad, because it's a good one.

The plot is a complex concatenation of many of Shakespeare's favorite themes. Innogen, the daughter of British king Cymbeline, has secretly wed Posthumus, of whom Innogen's father doesn't approve. So, Cymbeline banishes Posthumus from the kingdom. Meanwhile, the Queen (Innogen's stepmother) is plotting a way for her own son, Cloten, inherits the throne. Little do any of them know that Innogen's two brothers, who had been kidnapped as young children, are living not far away in a cave with Belarius, who Cymbeline had also banished long before. There are disguises, magic, poisons, a war between the British and the Romans -- Shakespeare really pulled out all of the stops on this one.

Anon It Moves' production sets CYMBELINE 400 years in the future. Kira Atwood-Youngstrom wrote in her director's notes: "The world created by the production team has become a heady mix of Fifth Element, Blade Runner, A Knight's Tale, and Labyrinth, with a dose of Nicolas Cage improbability to tie it all together." That's a pretty accurate description. And while some of the futuristic elements don't fit quite as well as some others, overall it works. Atwood-Youngstrom has also cast women in several of the traditional male roles, including Posthumus. There's also original music, which IMO is always a good thing.

But my favorite part of this production was the choreography. At one point, there were at least 10 actors stick-fighting in a space that scarcely holds 10 people to start with. And in slow motion -- awesome! Hats off to fight choreographer Kristen Mun. There is also a beautiful dream sequence choreographed by Cari Spinnler and performed by Jahnavi Alyssa (who is absolutely enchanting as Innogen), Alwynn Accuardi (Posthumus), and Juliana Wheeler (Iachimo).

Overall, while this show may not be the most polished production, I think it embodies a lot of what's great about Portland theatre -- it's innovative, provocative, accessible, and affordable. Also, the Milagro Theatre has the most comfortable seats in the city, hands down.

CYMBELINE plays through August 8. For tickets, visit anonitmoves.org

Photo credit: Russell J. Young

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