Shakespeare’s Cymbeline at the Candlelit Sam Wanamaker Playhouse

Last Updated on February 20, 2026

An Ancient Tale of Love and Honour

If ‘Shakespeare’s Plays’ was a topic on ‘Pointless’, Cymbeline might just be a winning answer. This production, at the 340-seat Sam Wanamaker Playhouse, was enough to convince me that’s an ill-deserved state of affairs – it’s a play that deserves to be better known. Written around 1610, Cymbeline is a multifaceted play set in ancient Britain during the time of the Roman Empire. It blends tragedy, comedy, romance and history, intertwining themes of loyalty, identity, forgiveness and love.

In the current production at The Globe, director Jennifer Tang casts Cymbeline as a woman (Martina Laird) while their daughter Innogen (Gabrielle Brooks) is married to the lowly Posthumus (Nadi Kemp-Sayfi) and not in the least bit interested in men, as she tells the lustful Iachimo (Pierro Niel-Mee). While it is a cohesive storyline it is not entirely convincing in the context of ‘Shakespeare’, any more than the ‘prayers to Gaia’. Perhaps because Cymbeline doesn’t sit on the top ten Shakespeare plays list, that seems to be less of a challenge than perhaps a female Lear or Macbeth set in 20th Century Sicily might be though.

As an evening of theatre, it’s excellent. The plot of Cymbeline, with multiple storylines all set in the context of Ancient Britain’s relationship with Rome, has a fantastical element to it, manifested by the fabulous music from the trio of musicians (Laura Moody, Heidi Heidelberg and Angel Wai Nok Hui) in the gallery. Glass bells create an ethereal sound, punctuated by guttural singing, guitar and cello. In the stunningly beautiful Sam Wanamaker Playhouse, the musicians sit like gods, occasionally joined by members of the cast.

Shakespeare’s blank verse is for the most part beautifully delivered. There’s no amplification but each actor is articulate, emotive and powerful enough not to need it. A visit to Shakespeare’s Globe or the Sam Wanamaker Playhouse is always a reassuring reminder of what makes the Bard so special.

The stage is beautifully lit with candles in large, mobile, candelabras that can be raised and lowered as appropriate, and by tealights set into what appears to be a wall studded with bones (candlelight designer Azusa Ono). In the intimate, beautifully painted and mirrored theatre, the audience can’t help but become immersed in the action.

There are powerful performances from many of the cast. Martina Laird is an emotive and forceful Cymbeline while Gabrielle Brooks and Nadi Kemp-Sayfi as young lovers are equally convincing. Cymbeline’s husband, the Duke (Silas Carson) is a weak and rather wooden character who tries but fails to poison his step-daughter. Pierro Niel-Mee’s wicked and conniving Iachimo treads that fine line between endearing and appalling while Jordan Mifsud’s Cloten is loathsome enough for his beheading to seem well deserved. With many of the cast playing more than one role, Aaron Anthony is particularly notable for his character shift from ‘Lord’ to Guiderius and the trio of Belaria (Madeleine Appiah), Guiderius and Arviraga is cohesive.

An excellent evening out, Cymbeline entertains on multiple levels. You can’t help but be enthralled by the Jacobean-styled playhouse, the uncomplicated but effective candlelit set. Costumes are simple enough but perfectly thought through so that the audience can instantly recognise the Romans, the British warriors and the courtiers. Full use is made of the limited space with important dialogue delivered from the musician’s gallery and with the corridors offering actors the opportunity for dramatic entrances. There are historic messages, exploring the power balance between ancient Rome and Britain. And, there’s the timeless story of love conquering all.

Cymbeline runs until 21 April 2025 at the Sam Wanamaker Playhouse

Sam Wanamaker Playhouse
Shakespeare’s Globe
21 New Globe Walk
Bankside
London
SE1 9DT

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