User:AliENGL304/newsandbox

Instructor feedback
- should be "November 16th of the same year"

- cut "also featured in the 1937 broadcast"

- should be "After the 1611 production mentioned by Simon Forman,"***

- should be "The Caroline production was noted as being"*

- cut "In the Restoration era, Thomas D'Urfey staged an adaptation of Cymbeline, titled The Injur'd Princess, or The Fatal Wager. " (it's mentioned in the adaptations section)***

- explain/clarify this: "the material aspects of the production"***

- remove link in "shortening of Imogen's burial scene"***

- should be "Several scholars have indicated that Garrick's Posthumus"***

- edit: "would prove popular; it was staged a number of times"***

- edit: "'''There have been some well-received theatrical productions including the Public Theater's 1998 production in New York City, directed by Andrei Șerban."

- see notes in Mariam's sandbox for further edits

- edit: "Also in 2012 the South Sudan Theatre Company staged Cymbeline in Juba Arabic for the Shakespeare's Globe "Globe to Globe" festival."***

- no comma after "Derik Uya Alfred"***

- cut "Writing for The Guardian," (and capitalize "Critic")***

- use "Imogen," to maintain consistency with the rest of the article

Adaptations
The play was adapted by Thomas d'Urfey as The Injured Princess, or, the Fatal Wager; this version was produced at the Theatre Royal, Drury Lane, presumably by the united King's Company and Duke's Company, in 1682. The play changes some names and details, and adds a subplot, typical of the Restoration, in which a virtuous waiting-woman escapes the traps laid by Cloten. D'Urfey also changes Pisanio's character so that he at once believes in Imogen's (Eugenia, in D'Urfey's play) guilt. For his part, D'Urfey's Posthumus is ready to accept that his wife might have been untrue, as she is young and beautiful. Some details of this alteration survived in productions at least until the middle of the century.

William Hawkins revised the play again in 1759. His was among the last of the heavy revisions designed to bring the play in line with classical unities. He cut the Queen, reduced the action to two places (the court and a forest in Wales). The dirge "With fairest flowers..." was set to music by Thomas Arne.

Nearer the end of the century, Henry Brooke wrote an adaptation which was apparently never staged. His version eliminates the brothers altogether as part of a notable enhancement of Posthumus' role in the play.

George Bernard Shaw, who criticised the play perhaps more harshly than he did any of Shakespeare's other works, took aim at what he saw as the defects of the final act in his 1937 Cymbeline Refinished; as early as 1896, he had complained about the absurdities of the play to Ellen Terry, then preparing to act Imogen. He called it "stagey trash of the lowest melodramatic order". He later changed his view, saying it was "one of the finest of Shakespeare's later plays", but he remained convinced that it "goes to pieces in the final act". Accordingly, in Cymbeline Refinished he rewrote the last act, cutting many of the numerous revelations and expositions, while also making Imogen a much more assertive figure in line with his feminist views.

'There have been a number of radio adaptations of Cymbeline between the 1930's and the 2000's. The BBC broadcast productions of Cymbeline'' in the United Kingdom in 1934, 1951, 1957, 1986, 1996, and 2006. NBC broadcast a production of the play in the United States in 1938. In October 1951 the BBC aired a production of George Bernard Shaw's Cymbeline Refinished, as well as Shaw's foreword to the play. '''

Screen Adaptations
'Lucius J. Henderson directed the first screen adaptation of Cymbeline'' in 1913. The film was produced by the Thanhouser Company and starred Florence La Badie as Imogen, James Cruze as Posthumus, William Garwood as Iachimo, William Russell as Cymbeline, and Jean Darnell as the Queen. '''

'''In 1937 the BBC broadcast several scenes of André van Gyseghem's production of the play, which opened November 16th the same year, on television. The scenes that comprised the broadcast were pulled exclusively from Acts I and II of the play, and included the 'trunk scene' from Act II Scene 2. In 1956 the BBC produced a similar television program, this time airing scenes from Michael Benthall's theatrical production, which opened September 11th, 1956. Like the 1937 program, the 1956 broadcast ran for roughly half an hour and presented several scenes from Cymbeline, including the 'trunk' scene. '''

In 1968 Jerzy Jarocki directed an adaptation of the play for Polish television, starring Wiktor Sadecki as Cymbeline and Ewa Lassek as Imogen.

Elijah Moshinsky directed the BBC Television Shakespeare adaptation in 1982, ignoring the ancient British period setting in favour of a more timeless and snow-laden atmosphere inspired by Rembrandt and his contemporary Dutch painters. Richard Johnson, Claire Bloom, Helen Mirren, and Robert Lindsay play Cymbeline, his Queen, Imogen, and Iachimo, respectively, with Michael Pennington as Posthumus.

In 2014, Ethan Hawke and director Michael Almereyda, who previously collaborated on the 2000 film Hamlet, re-teamed for the film Cymbeline, in which Hawke plays Iachimo. The film is set in the context of urban gang warfare. Ed Harris takes the title role. Penn Badgley plays the orphan Posthumus; Milla Jovovich plays the role of the Queen; Anton Yelchin is Cloten; and Dakota Johnson plays the role of Imogen.

An operatic adaptation by American composer Christopher Berg exists; scenes were performed in 2009.

Performance History (ready for review)
'''After the 1611 performance mentioned by Simon Forman, there is no record of production until 1634, when the play was revived at court for Charles I and Henrietta Maria. This production was noted as being "well likte by the kinge." In 1728 John Rich staged the play with his company at Lincoln's Inn Fields, with emphasis placed on the spectacle of the production rather than the text of the play. Theophilus Cibber revived Shakespeare's text in 1744 with a performance at the Haymarket. Some scholars indicate that Cibber put on another performance in 1746, and another in 1758. '''

'''In 1761, David Garrick edited a new version of the text. It is recognized as being close to the original Shakespeare, although there are several differences. Changes included the shortening of Imogen's burial scene and the shortening of the entire fifth act, including the removal of Posthumus' dream. Garrick's text was first performed the November of that year, starring Garrick himself as Posthumus. Several scholars have indicated that Garrick's Posthumus was much liked. Valerie Wayne notes that Garrick's changes made the play more nationalistic, representing a trend in perception of Cymbeline during that period. Garrick's version of Cymbeline would prove popular; it was staged a number of times over the next few decades. '''

The play entered the Romantic era with John Philip Kemble's company in 1801. Kemble's productions made use of lavish spectacle and scenery; one critic noted that during the bedroom scene, the bed was so large that Jachimo all but needed a ladder to view Imogen in her sleep. Kemble added a dance to Cloten's comic wooing of Imogen. In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus.

William Charles Macready mounted the play several times between 1837 and 1842. At the Theatre Royal, Marylebone, an epicene production was staged with Mary Warner, Fanny Vining, Anna Cora Mowatt, and Edward Loomis Davenport.

In 1864, as part of the celebrations of Shakespeare's birth, Samuel Phelps performed the title role at Theatre Royal, Drury Lane. Helena Faucit returned to the stage for this performance.

The play was also one of Ellen Terry's last performances with Henry Irving at the Lyceum in 1896. Terry's performance was widely praised, though Irving was judged an indifferent Iachimo. Like Garrick, Irving removed the dream of Posthumus; he also curtailed Iachimo's remorse and attempted to render Cloten's character consistent. A review in the Athenaeum compared this trimmed version to pastoral comedies such as As You Like It. The set design, overseen by Lawrence Alma-Tadema, was lavish and advertised as historically accurate, though the reviewer for the time complained of such anachronisms as gold crowns and printed books as props.

Similarly lavish but less successful was Margaret Mather's production in New York in 1897. The sets and publicity cost $40,000, but Mather was judged too emotional and undisciplined to succeed in a fairly cerebral role.

Barry Jackson staged a modern dress production for the Birmingham Rep in 1923, two years before his influential modern dress Hamlet. Walter Nugent Monck brought his Maddermarket Theatre production to Stratford in 1946, inaugurating the post-war tradition of the play.

London saw two productions in the 1956 season. Michael Benthall directed the less successful production, at The Old Vic. The set design by Audrey Cruddas was notably minimal, with only a few essential props. She relied instead on a variety of lighting effects to reinforce mood; actors seemed to come out of darkness and return to darkness. Barbara Jefford was criticised as too cold and formal for Imogen; Leon Gluckman played Posthumus, Derek Godfrey Iachimo, and Derek Francis Cymbeline. Following Victorian practice, Benthall drastically shortened the last act.

By contrast, Peter Hall's production at the Shakespeare Memorial presented nearly the entire play, including the long-neglected dream scene (although a golden eagle designed for Jupiter turned out too heavy for the stage machinery and was not used). Hall presented the play as a distant fairy tale, with stylised performances. The production received favourable reviews, both for Hall's conception and, especially, for Peggy Ashcroft's Imogen. Richard Johnson played Posthumus, and Robert Harris Cymbeline. Iachimo was played by Geoffrey Keen, whose father Malcolm had played Jachimo with Ashcroft at the Old Vic in 1932.

Hall's approach attempted to unify the play's diversity by means of a fairy-tale topos. The next major Royal Shakespeare Company production, in 1962, went in the opposite direction. Working on a set draped with heavy white sheets, director William Gaskill employed Brechtian alienation effects, to mixed critical reviews. Bernard Levin complained that the bare set deprived the play of necessary scenic splendor. The acting, however, was widely praised. Vanessa Redgrave as Imogen was often compared favourably to Ashcroft; Eric Porter was a success as Jachimo, as was Clive Swift as Cloten. Patrick Allen was Posthumus, and Tom Fleming played the title role.

A decade later, John Barton's 1974 production for the RSC (with assistance from Clifford Williams) featured Sebastian Shaw in the title role, Tim Pigott-Smith as Posthumus, Ian Richardson as Jachimo, and Susan Fleetwood as Imogen. Charles Keating was Cloten. As with contemporary productions of Pericles, this one used a narrator (Cornelius) to signal changes in mood and treatment to the audience. Robert Speaight disliked the set design, which he called too minimal, but he approved the acting.

In 1980, David Jones revived the play for the RSC; the production was in general a disappointment, although Judi Dench as Imogen received reviews that rivalled Ashcroft's. Ben Kingsley played Jachimo; Roger Rees was Posthumus. In 1987, Bill Alexander directed the play in The Other Place (later transferring to the Pit in London's Barbican Centre) with Harriet Walter playing Imogen, David Bradley as Cymbeline and Nicholas Farrell as Posthumus.

At the Stratford Festival, the play was directed in 1970 by Jean Gascon and in 1987 by Robin Phillips. The latter production, which was marked by much-approved scenic complexity, featured Colm Feore as Jachimo, and Martha Burns as Imogen. The play was again at Stratford in 2005, directed by David Latham. A large medieval tapestry unified the fairly simple stage design and underscored Latham's fairy-tale inspired direction.

At the new Globe Theatre in 2001, a cast of six (including Abigail Thaw, Mark Rylance, and Richard Hope) used extensive doubling for the play. The cast wore identical costumes even when in disguise, allowing for particular comic effects related to doubling (as when Cloten attempts to disguise himself as Posthumus.)

There have been some well-received theatrical productions including the Public Theater's 1998 production in New York City, directed by Andrei Șerban. Cymbeline was also performed at the Cambridge Arts Theatre in October 2007 in a production directed by Sir Trevor Nunn, who sought to re-capture the essence of the play as a story narrative, and in November 2007 at the Chicago Shakespeare Theatre. The play was included in the 2013 repertory season of the Oregon Shakespeare Festival.

'''In 2004 & 2014, the Hudson Shakespeare Company of New Jersey produced two distinct versions of the play. The 2004 production, directed by Jon Ciccarelli, embraced the fairy tale/Disney aspect of the story and produced a colorful version with wicked step mothers, feisty princesses and a campy Iachimo. The 2014 version, directed by Rachel Alt, went in a completely opposite direction and placed the action on ranch in the American old west. The Queen was a southern belle married to a rancher with Imogen as a high society girl in love with the cowhand Posthumous.'''

In a 2007 Cheek by Jowl production, Tom Hiddleston doubled as Posthumus and Cloten.

In 2011, the Shakespeare Theatre Company of Washington, DC, presented a version of the play that emphasized its fable and folklore elements, set as a tale within a tale, as told to a child.

'''In 2012, Antoni Cimolino directed a production at the Stratford Festival that steered into the fairy-tale elements of the text. '''

'Also in 2012 the South Sudan Theatre Company staged Cymbeline'' in Juba Arabic for the Shakespeare's Globe "Globe to Globe" festival. It was translated by Derik Uya Alfred and directed by Joseph Abuk. Connections between the content of the play and South Sudan's own political struggle have been drawn by the producers, as well as some scholars. Overall, the production was well received by audiences and critics. Critic Matt Trueman gave the production four out of five stars, saying "The world's youngest nation seems delighted to be here and, played with this much heart, even Shakespeare's most rambling romance becomes irresistible." '''

In 2013, Samir Bhamra directed the play for Phizzical Productions with six actors playing multiple parts for a UK national tour. The cast included Sophie Khan Levy as Innojaan, Adam Youssefbeygi, Tony Hasnath, Liz Jadav and Robby Khela. The production was set in the souks of Dubai and the Bollywood film industry during the 1990s communal riots and received acclaim from reviewers and academics alike.

Also in 2013, a folk musical adaptation of Cymbeline was performed at the First Folio Theatre in Oak Brook, Illinois. This particular production incorporated the patriarchal themes into a southern Civil War setting, where Cymbeline himself is a man of high status who avoids military service in the war. The play was performed outdoors and was accompanied by traditional Appalachian folk songs.

'In 2016, Melly Still directed Cymbeline'' at the Royal Shakespeare Company. This version of the play was performed at the Royal Shakespeare Theatre before moving to the Barbican in late 2016. The performance featured Bethan Cullinane as Innogen and Gillian Bevan as Cymbeline.'''